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BAEDEKER'S GUIDE BOOKS.

GREAT BRITAIN, with 18 Maps, 39 Plans, and a Panorama.

Fifth Edition. 1901. 10 marks.

LONDON and its ENVIRONS, with 4 Maps. and 24 Plans.

Thirteenth Edition. 1902. 6 marks.

THE UNITED STATES, with an Excursion into Mexico.

With 19 Maps and 24 Plans. Second Edition. 1899. 12 marks.

THE DOMINION OF CANADA, with Newfoundland and

ALASKA. With 10 Maps and 7 Plans. Second Edition. 1900. 5 marks.

AUSTRIA, including. Hungary, Transylvania, Dalmatia
and Bosnia, with30Maps and 36 Plans. 9th Ed. 1900. Smarks.

THE EASTERN ALPS, with 53 Maps, 10 Plans and 7 Pan-
oramas. Tenth Edition. 1903. 10 marks.

BELGIUM and HOLLAND, with 14 Maps and 22 Plans.

ROBERT W. WOODRUFF
LIRRARY

Thirteenth Edit

EGYPT. With 2

Edition. 1902.

FRANCE. — I.

FROM LONDO]
teenth Edition.

— n. north:

Third Edition.

— III. SOUTH

a Panorama. F

GERMANY.— ]

and IS) Plans.

— II. NORTHI

Fourteenth Edit

— III. SOUTH

Ninth Edition

— IV. THE RB

45 Maps and 2t>

GREECE, with 8]

ITALY. — I. NORTHERN ITAL\, including Leghorn,

FLORENCE, RAVENNA, with 30 Maps and 39 Plans. Twelfth
Edition. 1903. 8 marks.

— II. CENTRAL ITALY and ROME, with 14 Maps, 49

Plans and a Panorama of Rome. Fourteenth Edition. 1904. 7 marks 50 pf.

— III. SOUTHERN ITALY, SICILY, etc., with 27 Maps

and 24 Plans. Fourteenth Edition. 1903. 6 marks.

NORWAY, SWEDEN, and DENMARK, with 37 Maps,

22 Plans and 3 Panoramas. Eighth Edition. 1903. 8 marks.

PALESTINE and SYRIA, with 20 Maps, 48 Plans and a

Panorama of Jerusalem. Third Edition. 1898. 12 marks.

SPAIN AND PORTUGAL, with 7 Maps and 47 Plans. Second

Edition. 1901. 16 marks.

SWITZERLAND, with 65 Maps, 14 Plans and 11 Panoramas.

Twentieth Edition. 1903. 8 marks.

MANUAL OF CONVERSATION, in four languages. 3 marks.

6 marks.

ignettes. Fifth
15 marks.

$, with Routes

d 3(3 Plans. Four-

6 marks.

ps and 34 Plans.

7 marks.

is, 37 Plans and

9 marks.

^S, with 4 Maps

3 marks.

ps and 74 Plans.

8 marks.
ps and 16 Plans.

6 marks.
5N8TANCE, with

7 marks,
on. 1894. 8 marks.

CENTRAL ITALY

AND

ROME

MONEY-TABLE.

(Comp. p. ix.)
Approximate Equivalents.

Italian.

American. |; English

German.

Austrian.

Lire. \ Cent.

Doll.

Cts. !; L. | 5.

Mk.

Pfg-

A'.

■ - 1 -

—

— 1 —

21 2

—

7M,

—

9»«

—

71 4

—

2i|-,

—

20 ; -

9^4

—

40 il —

7i2

—

60 II —

—

80 -

2'/a

—

9^4

—

7>|.,

—

2i|a

—

9*|4

—

7i2

—

2i|2

—

100

—

Distances. Italy, like most of the other European states, has adopted
the French metric system. One kilometre is equal to 0.62138, or nearly
Vsths, of an English mile (8 kil. = 5 M.).

The Italian railway-time is that of Central Europe. In official deal-
ings the old-fashioned way of reckoning the hours from 1 to 24 has again
been introduced. Thus, alle tredici is lp.in., alle venti 8 p.m., etc.

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ITALY

HANDBOOK FOR TRAVELLERS

K. BAEDEKER

SECOND PART:

CENTRAL ITALY AND ROME

With 14 Maps, 49 Plans, a Panorama of Rome, a View of the Forum
romandm, and the arms of the popes since 1417

Fourteenth Revised Edition

LEIPZIG : KARL BAEDEKER, PUBLISHER

LONDON: DULAU AND CO., 37 SOHO SQUARE, W.
NEW YORK: CHARLES SCRIBNER'S SONS, 153/7 FIFTH AVE.

1904

'Go, little took, God send thee good passage,
And specially let this be thy prayere
Unto them all that thee will read or hear,
Where thou art wrong, after their help to call,
Thee to correct in any part or all.

PREFACE

J. he objects of the Handbook for Italy, which consists
of three volumes, each complete in itself, are to supply the
traveller with some information regarding the progress of
civilisation and art among the people he is about to visit,
to render him as independent as possible of the services of
guides and valets-de-place, to protect him against extortion,
and in every way to aid him in deriving enjoyment and
instruction from his tour in one of the most fascinating coun-
tries in the world. The Handbook will also, it is hoped, be the
means of saving the traveller many a trial of temper; for there
are few countries where the patience is more severely taxed
than in some parts of Italy.

The fourteenth edition of Central Italy and Rome, like its
predecessors, has been carefully revised and brought down
to date. The Handbook is based on the Editor's personal ac-
quaintance with the places described, most of which he has
repeatedly and carefully explored. As, however, changes
are constantly taking place, he will highly appreciate any
communications with which travellers may favour him, if the
result of their own observation. The information already re-
ceived from numerous correspondents, which he gratefully
acknowledges , has in many cases proved most serviceable.
Hotel-bills, with annotations showing the traveller's opinion as
to his treatment and accommodation, are particularly useful.

The Maps and Plans, on which special care has been
bestowed , will abundantly suffice for the use of the ordinary
traveller. The large Plan of Rome (scale 1:11,400), in the
Appendix, is divided into three sections with a view to ob-
viate the necessity of unfolding a large sheet of paper at
every consultation , and its use will be further facilitated
by reference to the small clue-plan (scale 1 : 33,000).

Heights are given in English feet (1 Engl. ft. = 0,3048
metre), and Distances in English miles (comp. p. ii).

Hotels- (comp. p. xvii). Besides the modern palatial and
expensive establishments, the Handbook also mentions a
selection of modest, old-fashioned inns, which not unfrequent-
ly afford good accommodation at moderate charges. The
asterisks indicate those hotels which the Editor has reason
to believe to be provided with the comforts and conveniences
expected in an up-to-date establishment, and also to be well
managed nw1 inth.a renfinnniN0 scale of charges. Houses of

FKEFAUK.

a more modest character, when good of their class, are
described as 'good' or 'very fair'. At the same time the
Editor does not doubt that comfortable quarters are to be
obtained at houses both of the first and second class that
he has not recommended or even mentioned. The constant
changes in the ownership and management of hotels, the
varying tastes and requirements of travellers, even the dif-
ferent seasons at which tours are made, render an uncondi-
tional verdict quite impossible. Although changes frequently
take place, and prices generally have an upward tendency,
the average charges stated in the Handbook will enable the
traveller to form a fair estimate of his probable expenditure.
To hotel-proprietors, tradesmen, and others the Editor
begs to intimate that a character for fair dealing and cour-
tesy towards travellers is the sole passport to his commen-
dation, and that advertisements of every kind are strictly
excluded from his Handbooks. Hotel-keepers are also warn-
ed against persons representing themselves as agents for
Baedeker's Handbooks.

N.B. For the convenience of pedestrians and others who may be un-
willing to carry the entire volume, the Handbook is bound in four sections
(pp. i-lxxvi; 1-130; 131380; and 381 to the end), each of which may be
easily removed from the others and used separately if desired.

Abbreviation;.

M. = Engl. mile.

It. = room. Also, route.

ft. = Engl. foot.

B. = breakfast.

kil. = kilometre.

D. = dinner.

kg. = kilogramme.

A. = attendance.

lir. = hour.

L. = light.

min. = minute.

dej. = ddjeuner (luncheon).

Alb. = Albergo (hotel).

rfmts = refreshments.

Tratt. = Trattoria (restaurant).

pens. = pension (i.e. board

omn. := omnibus.

lodging).

carr. = carriage.

fr. = franc (Hal. lira).

N. = north, northern.

c. = centime (Ital. centesimo)

S. = south, etc. Also, supper.

ca. = circa (about).

E. = east, etc.

comp. = compare.

W. = west, etc.

capp. = cappella (chapel).

and

The letter d with a date, after the name of a person, indicates the
year of his death. The number of feet given after the name of a place
shows its height above the sea-level. The number of miles before the
principal places on railway-route' and highroads indicates their distance
from the starting-point of the route

Asterisks are used as marks of commendation.

CONTENTS.

Page

Practical Introduction. Climate and Health ix

Political and Art History . xxix

Glossary of Art Terms lxxvi

I. S. Tuscany. Umbria. The Marches.

Route

1 . From Leghorn or Pisa to Rome by the Maremme ... 2

2. From Leghorn to Volterra 9

3. Elba and the Tuscan Islands 13

4. From Florence to Siena via Empoli 15

5. Siena 19

6. From Siena to Chiusi 39

7. From Florence to Perugia via Arezzo, Cortona, andTeron-

tola (Chiusi-Rome) 44

8. From Arezzo to Fossato di Vico ... 54

9. Perugia 59

10. From Perugia to Foligno and Orte (Rome) 70

11. From Florence to Rome via Terontola and Chiusi . . 86

12. From Attigliano to Viterbo and Rome 97

13. From Bologna to Rimini, Falconara (Rome), and Ancona 105

14. Ancona and its Environs 118

15. From Ancona to Foligno (Orte, Rome) .... 125

16. From Fabriano to Urbino 127

II. Rome.

Preliminary Information 133

Topography . 153

I. Hills to the North and East 155

II. Rome on the Tiber (Left Bank) 197

III. The Southern Quarters (Ancient Romej .... 234

IV. Quarters of the City on the Right Bank .... 312

III. Environs of Rome.

1. Immediate Environs and the Catacombs . . ... 381

2. The Alban Mountains 407

3. The Sabine Mountains 417

4. Etruscan Towns 432

5. The Sea Coast of Latium 434

6. The Volscian Mountains and the Railway to Terracina . 440
List of the Artists mentioned in the Handbook .... 449

Index 455

Omnibus and Tramway Routes and Cab Tariff in Rome, and List of Streets

in the Plan of Rome, in the Appendix at the end of the volume.

Maps.

1. Map of Central Italy (1:1,350,000), facing title-page.

2. Railway Map or Italy (1 : 7,000,000), at the end of the Handbook.

3. Environs or Perugia (1 : 70,000), p. 53.

4. Environs of Spoleto (1 : 50,000), p. 78.

5. Environs of Terni (1 : 75,003), p. 83.

6. Environs of Chidsi (1 : 75,000), p. 87.

7. The Roman Campagna (1:400,000), p. 380.

8. Nearer Environs of Rome (1:60,000), p. 382.

9. The Alban Mountains (1 : 100,000), p. 406.

10. Environs of Tivoli (1:12,500), p. 421.

11. The Sabine Mountains (1:100,000). Plate I.: Tivoli and Valley
of the Teverone, p. 424.

12. The Sabine Mountains. Plate II.: Roviano, Subiaco, Capranica,
p. 426.

13. The Sabine Mountains. Plate III.: Tivoli, Palestrina, Olevano,
p. 428.

14. The Volscian Mountains (1 : 150,000), p. 430.

Plans.

1. Ancona, p. 118. — 2. Anzio-Nettuno, p. 439. — 3. Arezzo, p. 45. —
4. Assrsi, p. 71. — 5. Cesena, p. 1C8 — 6. Citta di Castello, p. 56. —
7. Cortona, p. 51. — 8. Faenza, p. 106. — 9. Forl'i, p. 106. — 10. Gubhio,
p. 56. — 11. Orvieto, p. 89. — 12. Ostia, p. 436. — 13. Perugia and
Environs, p. 58. — 14. Pesaro, p. 113. — la. Rimini, p. 103. — 16. Siena,
p. 18. — 17. Spoleto and Environs, p. 78. — 18. Tivoli, p. 421. —
19. Viterbo, p. 98. — 20. Volterra, p. 10.

Home.

21. Tramway and Omnibus Plan (1 : 33,000); 22. Large Plan (1 : 11,400) ;
23. Central Rome (1:8300); and 24. Clue Plan (1:33,000), all in the
Appendix. — 25. Therm* of Diocletian, p. 166. — 26. Therm* Museum,
p. 168. — 27. Galleria d'Arte Moderna, p. 175. — 28. Casino Borghese,
p. 191. — 29. Museo Kiroheriano, p. 205. — 30. Galleria Doria, p. 208. —
31. Ancient Rome, p. 234. — 32. Palace of the Conservatori, p. 238. —
33. Capitoline Museum, p. 238. — 34. Forum Romanum, p. 250. — 35. Interior
of the Colosseum (restored), p. 267. — 36. Fora of the Emperors, p. 272.
— 37. The Palatine, p. 276. — 38. Santa Maria in Cosmedin, p. 2S3. —
39. Therm* of Caracalla, p. 291. — 40. Section and Ground-plan of
San Clemente, p. 299. — 41. San Giovanni in Laterano, Baptistery, and
Lateran Museum, p. 302. — 42. Reconstruction of the Moles Hadriani
and section of the Castello Sant' Angelo, p. 315. — 43. San Pietro in
Vaticano and the Vatican Palace (survey-plan), p. 318. — 44. Ground-
plan of San Pietro in Vaticano in its present state, p. 320. — 45. San
Pietro in Vaticano (Bramante's ground-plan), p. 320. — 46. San Pietro
in Vaticano (Michael ADgelo's ground-plan), p. 321. — 47. Vatican
Palace, S. Wing (Sistine Chapel, Raphael's Logge and Stanze), p. 330. —

48. Vatican Palace , N. Wing (Museum of Antiquities) , p. 348. —

49. Hadrian's Villa, p. 420.

View of the Forum Romanum in its former and present condition, p. 252.
Panorama of Rome (from San Pietro in Montorio), p. 376.
Arms of the Popes, from 1417 to the present day, p. xlii.

INTRODUCTION.

Page

I. Travelling Expenses. Money ix

II. Language x

III. Passports. Custom House. Luggage .... xi

IV. Season and Plan of Tour xi

V. Gratuities. Guides. Public Safety. Begging . . xii

"VI. Railways xiii

VII. Cycling xvi

VIII. Hotels. Pensions. Private Apartments .... xvii

IX. Restaurants, Cafes, Osterie xix

X. Sights, Theatres, Shops, etc xxi

XI. Post Office. Telegraph xxiii

XII. Climate of Rome. Health .... ... xxiv

XIII. Bibliography of Rome xxvii

XIV. History of the City of Rome xxviii

XV. List of Roman Emperors and Popes xxxix

XVI. Ancient Art xliv

XVII. Mediaeval and Modern Roman Art Iviii

'Thou art the garden of the world, the home
Of all Art yields, and Nature can decree;
E'en in thy desert, what is like to thee?
Thy very weeds are beautiful, thy waste
More rich than other climes' fertility,
Thy wreck a glory, and thy ruin graced
With an immaculate charm which cannot be defaced.'

Btron.

I. Travelling Expenses. Money.

Expenses. The cost of a tour in Italy need not exceed that in-
curred in other frequented parts of the Continent. The average ex-
penditure of a single traveller may be estimated at 20-25 francs per
day, or at 10-15 francs when a prolonged stay is made at one place;
but persons acquainted with the language and habits of the country
may easily restrict their expenses to still narrower limits. Those
who travel as members of a party also effect a considerable saving.
When ladies are of the party the expenses are generally greater.

Honey. The French monetary system is now in use throughout
the whole of Italy. The franc (lira or franco) contains 100 centesimi;
1 fr. 25c. = Is. = 1 German mark (comp. the money-table at p. ii).
In copper (bronzo or rame) there are coins of 1, 2, 5, and 10 cen-
tesimi, and in nickel pieces of 20 and 40 c. In silver there are
pieces of 1, 2, and 5 fr. ; but coins issued before 1863 are refused.
The gold coins (10, 20, 50, and 100 fr.) are seldom met with, their

X LiAJMiUAUJi.

place being taken by Biglietti di Stato (treasury-notes) for 5, 10,
and 25 fr., and the banknotes of the Banco, (TJtalia, the Banco di
Napoli, and the Banco di Sicilia, all of which, owing to the im-
proved financial condition of the country, now circulate at their face-
value. Other notes should be refused. All foreign silver and copper
coins (including the old papal coinage) should also be rejected, with
the exception of the five-franc pieces (scudi) of the Latin Monetary
League (Italy, France, Switzerland, Belgium, and Greece). The
gold coins of the Latin League, of course, circulate in Italy at their
full value. Obsolete and worn coins are frequently offered to strangers
at shops and inns and even at railway ticket-offices. — A piece of
5 c. is called a soldo, and as the lower classes often keep their
accounts in soldi, the traveller will find it useful to accustom himself
to this mode of reckoning (died soldi = 50 c, dodici soldi =
60 c, etc.).

Best Money for the Tour. Circular Notes or Letters of Cre-
dit, obtainable at the principal English and American banks, are
the proper medium for the transport of large sums, and realise the
most favourable exchange. English and German banknotes also
realise their nominal value. Sovereigns are received at the full value
(not less than 25 fr.) by the principal hotel-keepers. Besides silver
and small notes, l-l'^fr- in copper should also be carried in a
separate pocket or pouch (comp. p. xii).

Money Orders payable in Italy, for sums not exceeding 101., are
granted by the British Post Office at the following rates: not exceeding
11., fc'd. ; 51., U. ; 11., U. 6d. ; 101., 2s. These are paid in gold. The identity
of the receiver must he guaranteed by two well-known residents or by an
exhibition of the passport. It is therefore often convenient to arrange to
have the money sent to one's landlord. The charge for money-orders
granted in Italy and payable in Great Britain is 40 c. per 11. sterling.

II. Language.

The time and labour which the traveller has bestowed on the
study of Italian at home will be amply repaid as he proceeds on his
journey. It is quite possible for persons entirely ignorant of Italian
and French to travel through Italy with tolerable comfort ; but such
travellers cannot conyeniently deviate from the ordinary track, and
are moreover invariably made to pay 'alia Inglese1 by hotel-keepers
and others, i. e. considerably more than the ordinary charges. French
is very useful, and it may suffice for Rome ; but for those who desire
the utmost possible freedom, combined with the lowest possible ex-
penditure, a slight acquaintance with the language of the country is
indispensable, t — Those who spend any time in Rome are recom-

t A few words on the pronunciation may be acceptable to persons
unacquainted with the language. C before e and i is pronounced like the
English ch; g before e and i like j. Before other vowels c and g are
hard. Ch and gh, which generally precede « or «, are hard. Sc before e
or i is pronounced like sh ; gn and gl between vowels like nyif and lyi.
The vowels a, e, i, o. u are pronounced ah, a , ee, o, oo. — In ad-

BBBSoir-AiWrLAN OF TOUR. xi

mended to take Italian lessons ; teachers may be heard of at the book-
sellers'.

III. Passports. Custom House. Luggage.

Passports, though not required in Italy, are occasionally useful,
as, for example, in obtaining the delivery of registered letters at a
poste restante (comp. p. x). The countenance and help of the British
and American consuls can, of course, be extended to those persons
only who can prove their nationality. Cyclists (comp. xvi) should
always carry passports.

Among the principal pasaport-agents in London are: Buss, 4 Adelaide
Street, Strand (charge 4s., including agent's fee); C. Smith and Son,
23 Craven Street, Charing Crass (inclusive fee is.) ; Thomas Cook and Son,
Ludgate Circus (fee 3s. 6dJ; and Henry Blacklock & Co. (Bradshaw's
Guides'; fee 5s.)- -An extra charge is made for each visa, should such
be necessary.

Custom House. The examination of luggage at the Italian
custom-houses is usually lenient. Tobacco and cigars (only six pass
free), playing cards, and matches are the articles chiefly sought for.
A duty of 30 c. per kg. (2Ys lbs.) is levied on unexposed photograph
plates. Weapons of all kinds are liable to confiscation (see p. xiii).
Custom-house receipts should be preserved, as travellers are some-
times challenged by the excise officials in the interior. In most
Italian towns a tax (dazio consumo) is levied on comestibles, but
travellers' luggage is passed at the barriers (limite daziario) on a
simple declaration that it contains no such articles.

Luggage. As a rule it is advisable, and often in the end less
expensive, never to part from one's luggage, and to superintend the
custom-house examination in person. If the traveller is obliged to
forward it, he should employ a trustworthy agent at the frontier and
send him the keys. Comp. p. xvi.

IV. Season and Plan of lour.
Season. The best time for a tour in Central Italy is spring,
from the end of March to the end of May, or autumn, from the end
of September to the middle of November. The winter-months are
quite unsuited for travelling. They had better be devoted to Rome,
where rainy days may be spent in visiting the rich collections of ait
and antiquities. Of the other towns described in the present volume
the next in importance are Siena and Perugia, both of which afford
good summer-quarters owing to their elevated situations. Two other
places of great interest are Orvieto and Assisi, a short visit to which
should not be omitted. Arezzo, Cortona, Spoleto, Terni, with its
imposing waterfalls, and Chiusi and Corneto, with their Etruscan
antiquities, are also interesting points, situated near the railway.

dressing persons of the educated classes 'Lei', with the 3rd pers. sing.,
should always be employed (addressing several at once, 'loro' with the 3rd
pers. pl.1. 'Voi' is used in addressing waiters, drivers, etc.

XU fUBMU HAJ^WXI.

Volterra, San Gimignano, Montepulciano, Viterbo, and Gubbio, though
less conveniently situated, are also well worthy of a visit. "With
regard to the towns lying on the coast of the Adriatic, comp. pp. 105
et seq. The farther the traveller diverges from the beaten track, the
more he will learn of the characteristics of this delightful country.

V. Gratuities. Guides. Public Safety. Begging.

Gratuities. There is no other country where one has to give so
many gratuities as in Italy, or where such small sums are sufficient.
The traveller, therefore, should always be provided with an abund-
ant supply of copper coins. Drivers, porters, etc., invariably expect,
and often demand as their right a gratuity (buona mano, mancia, da
bere, caffe, sigaro), in addition to the hire agTeed on, varying accord-
ing to circumstances from 10-15 c. to a franc or more. The gratuities
suggested in this Handbook are on a sufficiently liberal scale ; some,
however, will of course give more, vihile the traveller of modest
claims will find perhaps two-thirds or even less enough. In public
collections, where a charge for admission is made, the keepers
(custodi) are forbidden to accept gratuities. In private collections
1-2 pers. should bestow a gratuity of i/z"! &•> 3-4 pers. I-IV2 fr-i
for repeated visits less. For opening a church-door, etc. 10-20 c.
is enough, but if extra services are rendered {e.g. uncovering an
altar-piece, lighting candles, etc.}, from 40 c. to 1 fr. may be given.

In hotels and restaurants about 5-10% of the reckoning should
be given in gratuities, or less if service is charged for. In restau-
rants where 'service' and 'couvert' appear on the bill, the fee should
be proportionately reduced.

Guides (Guide, sing, la Guida) may be hired at 6-10 fr. per day,
but their services may generally well be dispensed with by those
who are not pressed for time. Purchases should never be made in
their company as they receive at least 100/o commission from the
shop, which of course comes out of the purchaser's pocket. Neither
should contracts with vetturini or other persons be made in pre-
sence or with the aid of a commissionaire, as any such intervention
tends considerably to increase the prices. Licensed guides (Guide
patentate) may now be obtained in Rome (apply at any hotel).
Their licenses are issued by the Italian Archaeological Commission,
and contain a tariff of charges.

Public Safety. Travelling in Northern and Central Italy is not
attended with greater hazard than in any of the northern European
countries. The traveller should, of course, avoid the less frequented
parts of Rome and its environs after nightfall. Information as to
the safety of the Campagna is also not to be despised, though cases
of robbery there are hardly more numerous than in the neighbour-
hood of any large city. Ladies should never undertake expeditions
to the more solitary districts without escort; and even the mascu-

SAE&WAYS. xi

line traveller should arrange his excursions so as to regain the cit
not much later than sunset. In the towns the Quardie or policemen
and in the country the Carabinieri , or gensdarmes (who wear
black uniform, with red facings, and cocked hats), will be foun
thoroughly respectable and trustworthy. — No one may carry wea
pons without a license, on pain of imprisonment. Armi insidiosi
i.e. concealed weapons (sword-sticks; even knives with spring
blades, etc.) are absolutely prohibited.

Begging (I'accattonaggio), which is most prevalent at the church
doors, has long been a favourite livelihood in the streets of Komt
The efforts of the authorities to suppress it have been in vain
Travellers should decline to give anything, with the word 'niente
or a gesture of disapproval. Charity should in any case be restricte
to the aged and infirm, and on no account be given to children.

VI. Eailways.

The great Italian railways are the property of the State, thoug
leased to private companies ; a number of local lines belong to pr:
vate owners. In continental Italy the two chief railways are th
Rete Mediterranea and the Rete Adriatica. In Central Italy the line
from Leghorn to Pisa and Rome and from Rome to Naples belong 1
the former; while the latter includes the lines from Florence vi
Arezzo and Chuisi to Rome and from Bologna via. Ancona and Folign
to Rome, with their branches. The first-class carriages (8 seats
are comfortable, the second resemble the English and French, whil
the third class is chiefly frequented by the ower orders.

Among the expressions with which the railway-traveller will soo
become familiar are — '/are il biglieUo1 (to take a ticket), ipronW (ready
'partenza' (departure), 'fermata' (halt), 'si cambia trend1 (change carriages
'essere in coincidmza' (to make connection), and 'uscita (egress). The statioi
master is called icapostazione\ Smoking compartments are labelled 'p
fumatori\ these for non-smokers 'e vietato di fumare' .

The best Time Table is the Orario Vff.cio.le, published by th
Fralelli Pozzo at Turin and Rome (1 fr., smaller editions at 80 c.
50 c, and 20 c). — Railway time is that of Central Europe, whic
is 55 min. in advance of French railway time and 10 min. in ad
vance of Roman true time (comp. p. ii).

Tickets. In the larger towns it is better, when possible, t
take the tickets at the town-agency (agenzia di citth) of the rail
way. At railway - stations the traveller will find it convenient t
have as nearly as possible the exact fare ready before taking tickets
'Mistakes' are far from uncommon on the part of the ticket-clerl
or of the officials who weigh luggage. In addition to the fare a ta
of 5c. is payable on each ticket. It is also important to be at th
station early. The booking-office at large stations is open 40 min., i
small stations 20 min. before the departure of the trains. Holdei
of tickets are alone entitled to enter the waiting-rooms (no smokin
allowed). — Holders of ordinary tickets for over 124 M. (200 kil.

XIV UAJLLWAIiS.

may break their journey once, those with tickets for over 310 M.
(500 kil.) twice; but the ticket must be shown to the capostazione
on leaving the train, and again presented at the ticket-office to be
stamped before the journey is resumed.

Return Tickets (Biglietti di andata-ritorno) for distances up
to 100 kilometres (62 M.) are valid for one day only, up to 200 kil.
for 2 days, up to 300 kil. for 3 days, and beyond 300 kil. for 4 days.
But those issued on Sat. and the eves of festivals are available for
three, those issued on Sun. or festivals for two days at least. These
tickets do not allow the journey to be broken.

Circular Tour Tickets. The regulations affecting circular tours
in Italy resemble those in force in France, Belgium, Germany, and
other continental countries. The Orario Ufflciale (p. xiii) contains
a list of separate journeys or stages, which may be combined by the
traveller to suit himself (biglietti a itinerario eombinabile). For some
of the more popular circular tours tickets (books of coupons) are
kept in readiness by the railway companies (biglietti combinati).
Order-forms for these tickets may be obtained at any of the more
important stations in Italy, and, when filled up, should be forwarded,
along with a fee of 1 fr. , to the station whence the ticket is to be
issued. Such tickets are not issued for distances under 400 kil.
(248 M.). Those for 400-800 kil. are valid for 15 days; for 800-
2000 kil. for 30 days; for 2-3000 kil. for 45 days; beyond that
distance for 60 days. — Biglietti circolari intemazionali, including
coupons for foreign as well as Italian railways, are not issued for
distances under 600 kil. (373 M.) ; those for distances up to 2000 kil.
are valid for 45 days ; for 2000-3000 kil. for 60 days, and beyond
that distance for 90 days. They may be obtained in London at the
principal southern railway- stations or from Messrs. Cook & Son
(Ludgate Circus); in Paris from Cook & Son (Place de l'Ope'ra 1),
P. D. Lubin (Boulevard Haussmann 36), or the Societe des Voyages
Economiqucs (Rue du Faubourg -Montmartre 17); and also from
Cook's agencies in Brussels (Rue de la Madeleine 41), Cologne (Dom-
hof 1), and Geneva (Rue du Rhone 90). In Italy they may be
ordered at any large station but are issued only by Messrs. Cook & Son
at Rome (Piazza Esedra di Termini 54) and by Messrs. Gondrand
in Milan (Galleria Vittorio Emanuele). — These international
tickets allow the journey to be broken without any formality at the
terminal stations of the coupons and at the stations indicated on
them. If the traveller alights at other stations, he must at once
apply to the capostazione for recognition of the break of the journey.

The Biglietti combinati (see above) have to be signed by the
traveller and allow the journey to be broken at the terminal station
and at three intermediate stations, but they require to be stamped
at each fresh starting-point with the name of the next station at which
the traveller intends to halt. This may be done either at the city-
office or at the railway- station (usually at a special ticket-office,

1UWWAYS. xv

labelled 'Viaggi circolari'). If the traveller decides en route to alight
before or beyond the station for which his ticket has been stamped,
he must at once apply to the capostazione for recognition of the
break in the journey ('accertare il cambiamento di destinazione').
When the traveller quits the prescribed route, intending to rejoin
it at a point farther on, he has also to procure an '■annotazione' at
the station where he alights, enabling him to resume his circular tour
after his digression ('vale per riprendere alia stazione . . . il viaggio
interrotto a . . .). If this ceremony be neglected the holder of the
ticket is required* to pay the full fare for the omitted portion of the
route for which the ticket is issued. — By certain trains holders
of circular tickets are not allowed to break the journey before a
certain specified distance has been traversed; e.g. by the mail-train
(direttissimo) from Rome to Pisa, Genoa, and Turin, the journey may
not be broken before Genoa.

General Tickets. The so-called Biglietti di Abbonamento Spe-
ciale, or General Section Tickets , resembling the Swiss General-
Abonnements, entitle the holder to travel at will during a given
time (from a fortnight to a year) over the railways in any one of the
seven districts into which Italy is divided for the purpose (three
on the Rete Mediterranea, three on the Rete Adriatica, one in Sicily).
Farther details may be found in the time-tables and printed on the
application- forms to be obtained at any station. The applicant must
pay 1 fr. when ordering the ticket and at the same time furnish an
unmounted photograph of himseif.

Thus, travellers in Central Italy by purchasing the General Ticket 2a
(for a fortnight 95, 65, 40 fr. ; a month 16011065 fr.) can travel at will
on the lines of the Rete Adriatica from Rome to Florence, Bologna, An-
cona, and Solmona, and for an extra payment (45, 30, 20 fr. for a fort-
night; 75, 50, 33 fr. for a month) also to Naples. Siena and the stations
on the Maremme Line are the only important points in Central Italy beyond
the sphere of this ticket. But on the whole, circular tickets are more
convenient for tourists.

Luggage. Travellers who can confine their impedimenta to
articles that they can carry themselves and take into the carriage
with them, will be spared much expense and annoyance. Except
these no luggage is allowed free ; the rate of charge is 4'/2 c. for
100 kilogrammes (about 220 lbs.) per kilometre. The traveller
should, if possible, know the weight of his luggage approximately,
in order to guard against imposition. The luggage-ticket is called
to scontrino. Porters (facchini) who convey luggage to and from the
carriages have different tariffs at different stations, each package
costing 5, 10, 15,20 c. and so on, according to weight. At the Central
Station (Termini) in Rome the charge is 5 c. up to 44 lbs., above
that 15 c. ; at the San Pietro station 10 c. up to 33 lbs., 15 for 55,
30 for 110 lbs. and 40 c. for all weights in excess; a trifle extra is
general' y given. The charge for leaving luggage at the station (dare
in deposito, or depositare) is 5o. per day for each package, with

XVI tSy.UL.lHtj.

a minimum of 10 c. Luggage, however, may be sent on to the final
destination, though the traveller himself break the journey. On
alighting at small stations the traveller should at once look after his
luggage in person.

As several robberies of passengers' luggage have been perpetrated in
Italy without detection, it is as well that articles of great value should
not be entrusted to the safe-keeping of any trunk or portmanteau, however
strong and secure it may seem. — Damaged trunks may be secured with
leaden seals (piomlare = to seal with lead) for 5 c. each package.

The enormous weight of the trunks used by some travellers not un-
frequently causes serious and even lifelong injury to the hotel and railway
porters who have to handle them. Travellers are therefore urged to place
their heavy articles in the smaller packages and thus minimize the evil
as far as possible.

VII. Cycling.

(Communicated by W. O'Meara, Manager of C. T. C. Touring Bureau.)

Central Italy is not so well adapted to cycling as the N. regions.
The roads are not so good as those about the Lakes or in the Ve-
neto; the. climate, too, is less favourable. Still there is consider-
able utility to be derived from one's wheel, especially in Tuscany.

Most English cyclists visit the country in the winter months, but
it is quite feasible to ride in August and September, or in May and
June, provided one takes the precaution of riding early and late,
resting during the hotter portions of the day. The landscape is in-
finitely prettier than in winter.

In the winter months, provided the weather is dry, one can ride
almost anywhere in perfect comfort, as far as the roads are concerned.
In the warmer months the chief objection to the roads is the dust.
This makes it absolutely necessary to have a gear-case, as otherwise
one's chain is sure to become clogged. The cyclist's clothing should
be all-wool and not too thin; the great difference in temperature
makes the nights often feel chilly by comparison. When the sun is
strong it is perhaps advisable to wear a white calico hat with very
broad brim ; and to protect one's eyes from dust, insects, and the
glare of the sun it is prudent to wear goggles with coloured glasses.
The machine should, of course, have a good brake and also a power-
ful lamp, for it is often pleasant to ride at dusk, when the heat of
the day is over.

As regards the question of personal security, it is difficult to
say anything precise. Cautious riders will not venture in the in-
terior of the country south of Tuscany, though the Mediterranean
coast road is commonly followed to Rome , or even as far south as
Naples. The Adriatic coast , except along frequented stretches of
road, is best left alone. Venturesome riders may, however, be inter-
ested to know that the Peninsula has been and is occasionally
cycled oyer in all directions wherever there is a rideable road. But
that applies to men only; ladies must not under any circumstances
ride alone. On the whole the country is not suitable for cycling

SS"h?LS. xvii

expeditions pure and simple: the wheel should be used only in con-
junction with the railway, and the train should be taken to traverse
regions of doubtful safety or of malarial character. Rome, however,
is an excellent centre for cyclists.

The rule of the road varies in different parts of Central Italy.
In Rome and its vicinity the rule is the same as in England ; i e.
keep to the left in meeting, to the right in overtaking vehicles.
Riders in Rome require a police-licence (12 fr.); apply at the
Questura, Via di Monte Tarpeo 38. Comp. also pp. 139, 147.

The unattached cyclist on entering Italy with his wheel must
deposit 42 fr. 60 c. with the custom-house authorities, which sum
is returned to him (though sometimes not without difficulties) when
he quits the country. Members of well-known cyclist associations,
such as the Cyclists' Touring Club (London; 47 Victoria St. , S.W.)
or the Touring Club de France (Paris ; 10 Place de la Bourse), are,
however, spared this formality, on conditions explained in the hand-
books of these clubs. Members of the Touring Club Italiano (Milan.
Piazzia Durini 7; entrance fee 2 fr., annual subscription 5 fr.)
command advantageous terms at numerous hotels, besides having
access to the special information and maps of the club. One of its
best guides is L. V. BertarelUs Guida-Itinerario delle Strade di
Grande Comunicazione dell' Italia, with numerous maps and plans.

On the railways cycles are treated as ordinary passengers' luggage
(p. xv). Valises should not be left strapped to cycles when sent
by rail, owing to the risk of theft (p. xvi).

The following Itinerary from Florence to Rome is recommended:
1st Day. IO1/2 M. Pontassieve (320 ft.} .— 251/2 M. Figline Valdarno (425 ft.) —
331/2 M. Montevarchi (470 ft.) — 531/2 M. Arezzo (840 ft.). — 2nd Day. 11 M.
Castiglione Fiorentino (910 ft.) — I81/2 M. Camuscia (895 ft. ; Cortona) —
23V2 M. Terontola (1050 ft.), on the Lago Trasimeno — 31 M. Passignano
(865 ft. ; stony stage) — 37i/2M. Magione (985 ft.) — 50 M. Perugia (1475 ft). —
3rd Day. IOV2 M. Bastia (660 ft.) — 12y2 M. Santa Maria degli Angeli
(715 ft. ; Assisi) — I91/2 M. Spello (720 ft.) — 22 M. Foligno (765 ft.). —
4th Day. I61/2 M. Spoleto (1130 ft.) — 23 M. Passo della Somma (2230 ft. ?
2-3 M. very steep). — 5th Day. 33i/2 M. Terni (440 ft. ; digression to the
waterfalls, 8-9 M.). — 6th Day. 8V2 M. Narni (720 ft.) — 29 M. Civita
Castellana (475 ft.). — 62 M. Rome (60 ft.).

VIII. Hotels. Pensions. Private Apartments.

First Class Hotels , comfortably fitted up , are to be found at
Rome, Siena , Perugia , and at most of the principal resorts of tra-
vellers in Central Italy. Several of those at Rome are kept by Swiss
and German landlords. Room 2!/2-6 fr., light S^-l1^^ attend-
ance 1 fr. (exclusive of the 'facchino' and porter) , table d'hote
4-6 fr., and so on. The charge for dinner (pranzo, diner) does not
generally include wine, which is comparatively dear. For a prolong-
ed stay an agreement may generally be made for pension at a more
moderate rate. Visitors are expected to dine at the table d'hote ;
otherwise the chaTge for rooms is apt to be raised. Luncheon (co-

P.AED ||

xviii PKIVATE AfAKTiVlJiiNXfe.

lazione, dejeuner), however, need not be ordered at the hotel. Meals
served at other than the usual hours, or in the traveller's private
rooms, are, of course, considerably dearer. The charge for the use of
the hotel-omnibus from the station to the hotel is so high (1-1 '^fr.),
that it is often cheaper to take a cab. It is also easier for those who
use a cab (definite bargain as to fare) to proceed to another hotel,
should they dislike the rooms offered to them. Rooms on the ground-
floor should be avoided. — The best hotels in Rome are sometimes
so crowded at the height of the season, that accommodation cannot
always be reckoned upon even when ordered in advance. A reply
post-card will, however, ensure definite information on the point,
and so prevent trouble and disappointment.

The Second Class Hotels (Alberghi or, in the smaller towns,
Locande), thoroughly Italian in their arrangements, are much cheaper,
but they are rarely very clean or comfortable : It. 1-3, L. V21 A-
'/•2 fr. One advantage they possess is that the traveller is free to
take his meals where he pleases, though there is generally a trattoria
(p. xix) connected with the house. Morning coffee is usually taken at
a cafe (p. xx ) and not at the inn (where the charge is IV4-IV2 fr-)-
The better houses of this class may be visited even by ladies; but
the new-comer should, perhaps, frequent first-class hotels only. It
is quite customary to make enquiries as to charges beforehand, and
in bargaining as to the price of a room the 'servizio e candela' should
not be forgotten. If no previous agreement has been made an ex-
tortionate bill is not uncommon.

Hotels Gabnis are to be found in most of the larger towns, with
charges for rooms similar to those in the second-class hotels. As
matches are rarely found in hotels the guest should provide himself
with a supply of the wax-matches (cerini) sold in the streets (1-2
boxes, 10-15 c). Soap also is an 'extra', for which a high price is
charged.

Money and other valuables should either be carried on the person
(p. xvi) or entrusted to the landlord in exchange for a receipt.

The Pensions mentioned in the Handbook are in every respect
reliable. They are generally conducted by ladies. They also receive
passing travellers, but as the price of dejeuner is usually (though
not universally) included in the fixed daily charge, the traveller has
either to sacrifice some of the best hours for visiting the galleries or
to pay for a meal he does not consume.

Pbxvate Apartments are recommended for a prolonged res-
idence. A rent lower than that first asked for is often accepted.
When a whole suite of apartments is hired, a written contract on
stamped paper should be drawn up with the aid of some one acquainted
with the language and customs of the place (e.g. a banker), in order
that 'misunderstandings' may be prevented. To sign such a con-
tract without reliable advice is distinctly dangerous. Payment of
part of the rent Its nri^aTipp is nuite r.nstomarv: but such payment

sammAmcAN t S xix

should never lie made until after the landlord has fulfilled all his
undertakings with regard to repairs, furnishing, etc. For single
travellers a verbal agreement with regard to attendance, linen, boot-
cleaning, stoves and carpets in winter, a receptacle for fuel, and
other details will generally suffice. Cornp. also p. xxvi.

The popular idea of Cleanliness in Italy is behind the age. The
traveller will rarely suffer from this shortcoming in the first-class hotels
or even the better second-class hotels; but those who quit the beaten
track must be prepared for privations. Iron bedsteads should if pos-
sible be selected, as they are less likely to harbour the enemies of
repose. Insect-powder (polvere insetticida or contro gli insetti orKeating's;
better procured before leaving home) or camphor somewhat repels their
advances. The zanzare, or gnats, are a source of great annoyance, and often
of suffering, during the summer and autumn-months, especially in the
neighbourhood of plantations, canals, and ponds. They are less in evidence
at Rome. Windows should always be closed at twilight and before a light
is introduced into the room. Light muslin curtains (zanzarieri) round the
beds, masks for the face, and gloves are employed to ward off the attacks
of these pertinacious intruders. The burning of insect powder over a
spirit-lamp (though the odour is unpleasant) is also recommended, and
pastilles (fidibus contro le zanzare, zampironi, in Venice chiodi) may be
purchased at the chemists' for the same purpose. A weak solution of
carbolic or boracic acid in water is efficacious in allaying the discomfort
occasioned by the bites.

A list of the Italian names of the ordinary articles of underclothing
(la biancheria) will he useful in dealing with the washerwoman: Shirt
(linen, cotton, woollen), la camicia (ditela, di cotone, di lana); night- shirt,
camicia di nolle; collar, ilcollo, ilcollello; cuff, ilpolsino; drawers, le mutande;
woollen undershirt, una flanella or giubba di flanella, una maglia ; petticoat,
la sottana; stocking, la calza; sock, la calzelta; handkerchief (silk), ilfazzo-
letto (di seta). To give out to wash, dare a bucato (di bucalo , newly
washed); washing-list, la nota; washerwoman, laundress, la stiratrice, la
lavandaia; buttons, i bottom.

IX. Restaurants, Cafes, Osterie.

Restaurants (Ristoranti, Trattorie). The first-class restaurants
in Rome resemble those of France or Germany, and have similarly high
charges. — - The more strictly national Trattorie are chiefly frequented
by Italians and gentlemen travelling alone, but those of a better class
may be visited by ladies also. They are generally open from 11 a.m.
till comparatively early in the evening, but are frequented chiefly
between 5 and 8 p.m. Breakfast or a light luncheon (colazione) be-
fore 1 p.m. may be more conveniently obtained at a cafe' (p. xx).
Dinner may be obtained ci tocarie(l1/2-3fr.), and sometimes aprezzo
fisso (2-5 fr.). The diner who wishes to confine his expenses within
reasonable limits should refrain from ordering dishes not mentioned
in the bill of fare. The waiter is called cameriere (or bottega), but the
approved way of attracting his attention is by knocking on the table.
If too importunate in Ms recommendations or suggestions, he may
be checked with the word '6osia' (enough). The diner calls for the bill
with the words HI ccnto\ and should check the items and addition.
The waiter expects a gratuity of 10-25 c. (about 5 c. for every franc).

CAFES.

List of the ordinary dishes at

Anlipasti, Principii, relishes taken as
whets (such as sardines, olives, or
radishes).

Minestra or Zuppa, soup.

Brodo or Consume, broth or bouillon.

Zuppa alia Sante, soup with green
vegetables and bread.

Minestra di riso con piselli, rice-soup
with peas.

Risotto (alia Milanese), a kind of rice-
soup (rich).

Paste asciutte, maccaroni, al sugo e
al burro, with sauce and butter ;
ai pomi d'oro, with tomatoes.

Carne lessa, bollita, boiled meat; in
umido, alia genovese, with sauce;
ben cotlo, well-done ; al sangue, all'
inglese, underdone; aiferri, cooked
on the gridiron.

Manzo, boiled beef.

Fritto, ana Frittura, fried meat.

Fritto misto, a mixture of fried liver,
brains, artichokes, etc.

Arrosto, roasted meat.

Arrosto di vitello, roast-veal.

Bistecca, beefsteak.

Maiale, pork.

Montone, mutton.

Agnello, lamb.

Capretto, kid.

Testa di vitello, calf s head.

Figato di vitello, calf's liver.

Bracidla di vitello, veal-cutlet.

Costoletta alia Milanese, veal -cutlet,
baked in dough.

Esgaloppe, veal-cutlet with bread-
crumbs.

Ostrtche, oysters (good in winter only).

Pesce, fish.

Sdglia, a kind of sole.

Presciutto, ham.

SalSme, sausage (usually with garlic,
aglio).

Polio, fowl.

Uova, eggs, da bere, soft, dure, hard,
al piatlo, poached.

Arittra, duck.

Polio d' India, Tacchino, or Gallinaccio,
turkey.

the Italian restaurants : —

Onocchi, small dumplings of dough.

Stufatino, cibreo, ragout.

Crocchetti, croquettes.

Pasticcio, pie.

Gontorno, Guarnizione, garnishing,

vegetables, usually not charged

for.
Palate, potatoes.
Polenta, squashed maize.
Insalala, salad.
Asparagi, asparagus (green).
Spinaci, spinach.
Carciofi, artichokes.
Piselli, peas.
Lenticchie, lentils.
Cdvoli fiori, cauliflower.
Gobbi, cardi, artichoke- stalks (with

sauce).
Zucchini, gherkins.
Fave, beans.
Fagiili, French beans.
Fagiolini, young French beans.
Funghi, mushrooms.
Mostarda francese, sweet mustard

(mixed with vinegar).
Mostarda inglese or Senape, hot mus-
tard.
Sale, salt.
Pepe, pepper.
Dolce, sweet dish.
Zuppa inglese, a kind of trifle.
Frutta, Giardinetto, fruit, dessert.
Frdgole, strawberries.
Pera, pear.
Mele, apples.
Pirsiche, Pesche, peaches.
Pee, grapes.
Fichi, figs.
Noci, nuts.
Limone, lemon.
Arancio, orange.
Finocchio, root of fennel.
Frittata, omelette.
Dolce, sweets.
Pane francese, bread made with yeast

Cthe Italian is made without).
Formaggio, cheese ( Gorgonzola, Strac-

chino).
Burro, butter.

Wine (vino da pasto ; nero, rosso, red; bianco, white; secco,
asciuto, dry ; dolce, pastoso, sweet ; vino del paese, wine of the
country) is usually brought in open flasks, one-half, one-fourth, or
one-fifth of a litre (un mezzo liiro; un quarto ; un quintooibicchiere).
Wines of a better quality are served in ordinary corked and labelled
bottles.

Cafes are frequented mostly in the late afternoon and evening.
The tobacco-smoke is frequently objectionable.

WINI3-SBSP6: CIGARS. xxi

Caffe nero, or coffee without milk, is usually drunk (15-25 c. per
cup). Caffe latte (served only in the morning) is coffee mixed with milk
(25-50c; cappuccino, or small cup, cheaper); or caffe e latte, i.e. with the
milk served separately, may be preferred. Mischio is a mixture of coffee
and chocolate (20-30 c), Cioccolata, or chocolate, 30-50 c. Pane (a roll) 5 c. ;
pasta (cake) 5-15 c. ; bread and butter (pane e burro) 20 c. — The usual
viands for lunch (Colazione) are ham, sausages, cutlets, beefsteaks, and eggs.

Ices (gelalo) of every possible variety are supplied at the cafes at
50-90 c. per portion; or a half portion (mezza) may be ordered. Sorbetto,
or half-frozen ice, Spremuto, lemonade and fruit-syrup, and Qranita, iced-
water (limonata, of lemons ; aranciata of oranges ; di caffi, of coffee) are
also popular. Gassosg, aerated lemonade, is frequently ordered. The waiter
expects 5-10 c.

Newspapers (giomali). The principal Parisian newspapers are to be
found at all the larger cafes, English rarely. — Roman newspapers, see p. 148.

Wine Shops (osterie), especially at Rome (with the exception of
some of the better 'Tuscan wine-shops', which are also restaurants),
are a favourite haunt of the lower classes. The prices are often
inscribed on the outside of the shop; '6', '7', '8', meaning that half
a litre costs 6, 7 or 8 soldi (i.e. 30, 35, or 40 c). Bread and cheese
may be obtained at some of the osterie, but those who sup must bring
their own eatables from a phzicarolo, or dealer in comestibles. The
reputation of the osterie varies with the quality of the wine ; the
number of customers is a good index of the latter.

In Tuscany the best wines (all red) are: Chianti (best Broglio], Rufina
(best Pomino), Mpozzano, Altomena, Carmignano, and AUatico (sweet). Or-
vieto and Montepulciano are white wines produced farther to the south.
— A 'fiasco', a straw-covered flask, usually holding three ordinary bottles,
is generally brought, but only the quantity consumed is paid for. Smaller
bottles may sometimes be obtained: mezzo fiasco (V2), quarto fiasco (V4),
otlavino i}/s); these must be bought outright.

In Rome the commonest wines, besides the Tuscan, are those of the
neighbourhood ( Vini dei Gastelli Romani), the favourites being Frascati,
Marino, and Genzano. In shops outside the town the wine is very cheap
and often excellent.

Cigars (sfgari) in Italy are a monopoly of Government, and far from
choice. The commonest home-made cigars are Conchas and Trabucos
(20 c); Minghetti (15c); Virginia (strong; 71/2, 12, or 15 c);
Toscani, Napoletani, Cavours (long 10 c, short 7!/2c.); etc. — Good
Havanna Cigars (25-60 c.) and foreign Cigarettes may be bought at
the 'Spaccio Normale' (p. 138) and other large shops in Rome.
A few brands of English and French tobacco may be obtained at
the Spaccio Normale at high prices. — Travellers who import their
own cigars, paying the heavy duty, should keep the customs-receipt,
as they are liable to be challenged. — Passers-by are at liberty to
avail themselves of the light burning in every tobacconist's, without
making any purchase.

X. Sights, Theatres, Shops, etc.
Churches are open in the morning till 12 or 12.30, and generally
again from 4 to 7 p.m. , while some of the most important remain
open the whole day (comp. p. 149). Many of the smaller churches

xxii CHURCHES. MUSEUMS.

are open until 8 or 9 a.m. only. Visitors may inspect the works of art
even during divine service, provided they move about noiselessly,
and keep aloof from the altar -where the clergy are officiating. On the
occasion of festivals and for a week or two before Easter the works
of art are often entirely concealed by the temporary decorations. The
verger (sagrestano) receives a fee of 30-50 c. or upwards, if his services
are required (comp. p. xii).

Museums, picture-galleries, and other collections that belong
to government are usually open from 10 (9) to 3 o'clock, on week-
days at a charge of 1 fr., and on Sundays gratis. In Rome the col-
lections of the Vatican and the private galleries are closed on Sun-
days and on ecclesiastical festivals. The national collections are
closed only on the holidays recognized by government, viz. New Year's
Day, Epiphany (Jan. 6th), Queen's birthday (Jan. 8th), Lady Day
(March 25th), Easter Day, Ascension Day, Festa dello Statuto (first
Sun. in June), Fete de Dieu (Corpus Domini), June 29th (SS. Peter
and Paul), Assumption of the Virgin (15th Aug.), Sept. 8th (Nativity
of the Virgin), Sept. 20th (anniversary of the entry of the Italian
troops in 1870, see p. xxxviii), Nov. 1st (All Saints' Day), King's
birthday (Nov. 11th), Dec. 8th (Immaculate Conception), and Christ-
mas Day. In smaller towns museums and galleries are also often
closed during the Carnival, on Palm Sunday, Whitsunday and Whit-
monday, and on the day sacred to the local patron saint.

Those who desire to study, draw, or copy in the papal museums or
private collections must procure a Permesso through their consul. For the
Papal Museums permission is granted by Monsignor della Volpe (maggior
domo of the pope) at his office, the written application having been
left there a day or two previously. (Separate permessi required for the
museums of the Vatican and Lateran , the Vatican picture-gallery , and
Raphael's Logge.) In the case of Private Galleries, application must be
made to the proprietor in Italian or French, stating also which picture it
is intended to copy, and the size and description of the copy. In some
collections copies of the original size must not be made. As to this and
similar regulations, information should be previously obtained from the
custodian. The following form of application to the Monsgr. Maggiordomo,
may be also addressed to a principe or marchese, the 'Eevma.' being in
this case omitted.

Eccellenza Revma,

II sottoscrilto, che si trattiene a Roma con lo scopo di proseguire in questa
capitale i suoi studi artistici (storici, etc.), si prende la libertd di rivolgersi
con questa a Vra Eccellenza Revma pregando La perche voglia accordargli il
grazwso permesso di far degli studi (dei disegni, delle notizie, etc.) nel Museo
(nella Galleria) Valicano.

Sperando di essere favorito da Vra Eccellenza Revma e pregando La di
gradire anticipatamente i piu sinceri suoi ringraziamenti, ha Vonore di pro-
teslarsi col piu profondo rispetto

di Vra Eccellenza Revma
Roma li . . . . Ummo Obbiho Servitore

A Suet Eccellenza Revma N. N.

Msgr. della Volpe

Maggiordomo di Sua Santita.

Artists, archaeologists, and scholars, on making application to the
Ministry of Education <m a stamped form (1 fr. 20 c), receive free ad-
mission (permesso di sr.'—X'.i vntvit") *" "H <mverniuent collections through-

A'l'iliaSs, EUlilSSr I'UST-OFFICE. ixiii

out the country. For a single town the application is made to the director
of the local gallery (stamp 60 c). The application must be accompanied by
an unmounted photograph and by a certificate from a university or some
similar body countersigned by an Italian consul in the applicant's country.
— Those who desire to draw, take measurements, or photograph (with
tripod-cameras, not with hand-cameras) in the Forum or on the Palatine
require similar permessi.

Theatres. In Italian theatres the companies are not engaged for
more than a season (stagione) at a time. Even in the largest houses
opera-singers are engaged by an impressaTio for a series of per-
formances lasting sometimes only from St. Stephen's day (Dec. 26th)
to the end of the carnival. At the conclusion of an opera an elaborate
spectacular ballet is frequently given. Performances begin at 8,
8.30, or 9, and terminate at midnight or later. — The theatre is the
usual evening-Tesort of the Italians, who seldom observe strict
silence during the performance of the music. During the long-
intervals (15-20 min.) between the acts visits are interchanged by
the occupants of the boxes. — Cloak-rooms are found in a few of
the best theatres only. Gentlemen usually wear their hats until
the curtain rises.

The pit (platia), to which the biglietto d'ingresso gives access, has
standing-room only ; for seats additional tickets must be taken (usually in
advance in the larger towns). A box (palco di primo, secondo, terzo ordine)
is the pleasantest place when ladies are of the party. Evening-dress is
usually worn in the boxes. Other reserved seats are the pollrone (front
stalls) and the posii distinti or sedie (rear stalls). In some of the larger
theatres good seats may be obtained in the anfiteatro or prima gcdleria.

Shops. Fixed prices are now supposed to be the rule at shops
of a better class ; but when large purchases are made a discount of
5% is frequently allowed, and a little skilful bargaining will some-
times effect a farther reduction {contrattare = to bargain). Pur-
chases should never be made by the travellor when accompanied by
a valet-de-place; on the other hand, the presence of an Italian
friend is a distinct advantage. English is spoken in many of the shops.

Some caution is necessary, in buying articles to be sent home. The
full amount should never be paid until the package has arrived and its
contents have been examined. If the shopkeeper does not agree to a
written agreement as to the method of packing, the means of transport,
and compensation for breakages, it is advisable to cut the transaction short.
The transmission of large objects should be entrusted to a goods-agent.

XI. Post Office. Telegraph.

In the larger towns the Post Office is open daily from 8 a. m. to
8 or 9.30 p.m. (also on Sundays and holidays), in smaller places it
is generally closed in the middle of the day for two or three hours.

Letters (whether 'poste restante', Italian lferma in posta', or to
the traveller's hotel) should be addressed very distinctly, the sur-
name (cognorr.e) should be underlined, and the name of the place
should be in Italian. When asking for letters the traveller should
present his visiting-card instead of giving his name orally. — Postage-
stamps (francobolli) are sold at the post-offices and at the tobacco

XXIV

KJUXiXLJnL± JU.

shops. The Italian for letter-box is Buca or Cassetta (for letters, per
le lettere; for printed papers, per le stampe).

Letteks of 15 grammes C/2 oz., about the weight of three sous) by
town-post 5 c, to the rest of Italy 20 c, abroad (per Vestero) 25 c. The
penalty (segnalassa) for insufficiently prepaid letters is double the deficiency.
— Post Cards (cartolina poslale) within the town 5 c, for both Italy and
abroad 10 c, reply-cards (con risposta pagata), inland 15 c, for abroad
20 c. — Letter Cakds (biglietto poslale), for the city 5 c, for Italy 20 c, for
foreign countries 25 c. — Book Packets (stampe sotto fascia) 2 c. per
50 grammes, for abroad 5 c. — Registration Fee (raccommandazione) for
letters for the same town and printed matter 10 c, otherwise 25 c. The
packet or letter must be inscribed iraccomandata\ — Post Office Orders,
see p. x. Sums not exceeding 25 fr. may be sent within Italy by the so-
called cartolina vaglia (fee 10 c. for 1-5 fr. and 5 c. for each 5 fr. more).
Money may also be transmitted by telegraph.

Parcel Post. Parcels not exceeding 5 kg. (11 lbs ) in weight or
20 cubic decimetres in size (longest dimension not more than 60 centi-
metres, or about 2 ft.) may be sent by post in Italy for 60 c. ; to England,
via, France, 2 fr. 75 c. The parcels must be carefully packed and fastened
and may not contain anything in the shape of a letter ; and two custom-
house declarations must be filled up for each parcel for abroad. Articles
such as flowers, etc., not liable to duty are best sent as samples of no
value (carnpione senza valore) in Italy 2 c. per 50 gr., abroad 10 c, each
additional 50 gr. 5 c. (maximum 350 gr.).

Telegrams. For telegrams to foreign countries the following
rate per word is charged in addition to an initial payment of 1 fr. :
Great Britain and Sweden 26 c, France and Germany 14, Switzer-
land and Austria 6-14, Belgium 19, Holland 23, Denmark 23,
Russia 42, Norway 34. A receipt (ricevuta ; 5 c.) should be asked
for. — To America from 8^/4 fr. per word upwards, according to the
state. — In Italy, 15 words 1 fr., each additional word 5 c. Tele-
grams with special haste (telegrammi urgenti), which take precedence
of all others, may be sent in Italy at thrice the above rates.

XII. Climate of Borne. Health.

The climate of Rome is determined by its situation in the Cam-
pagna, almost equidistant from the Apennines and the sea (14 M.),
and about 100 ft. above the level of the latter. The Roman winter
owes its mildness to the sea, and the daily recurring breeze in
summer is due to the same source. A marked feature of the climate
is the coolness which sets in after sunset on clear days, followed by
a comparatively low temperature at night. The wind, too, often
changes its quarter. During winter the prevalent wind is the Tra-
montana , a term applied not only to the N. wind but also to the
N.N.E. wind (Oreco); it blows more and more frequently from
October to December, then becomes gradually rarer, and by April
or May ceases altogether. This dry and cool (sometimes even cold)
wind is generally accompanied by a clear sky, and except when
unusually violent (in which case it irritates the mucous membrane)
is not found trying even by invalids. The Scirocco, a general name
for the S.E. , S. , and S.W. winds, is especially prevalent in October

MHiLTH. xx-

and in March and April. It has an alleviating effect upon cold
and coughs, hut is apt to take away the appetite and impair th
nervous energy.

The most favourable month for a visit to Rome is October, whei
the first autumn rains have fallen and nature seems to awaken ti
a second spring. During that month the average temperature i
about 63° Fahr. and the number of rainy days 10. November, wit]
a mean temperature of 54° and an average of ll1/^ days of rain, i
also often a pleasant month. In December the N. and S. winds con
tend for mastery, and wet weather alternates with cold, the meai
temperature being 47° and the average number of rainy days lO1^
January (mean temp, i^fa0, wet days 10), and February (meai
temp. 461/2°, wet days 8V2)) during which the N. wind prevails, ar
the two coldest months, though often very bright. The temperaturi
occasionally falls to 25-28° (exceptionally 21°), but in some winter
it never freezes at all. Snow is rare and never lies more than on<
or two days. Travellers arriving at this season from the Riviera
where the mean temperature in these months is from 48° to 54°
should be careful to guard against the sudden change by warme
clothing. March (mean temp. 501/2°, rainy days 10), though oftei
cold, and as usual in the S. the windiest month of the year, seldon
passes without some charming spring days. After October April am
the first half of May form the pleasantest time for visiting Rome
Those who are not afraid of a few hot days may find the seconi
half of May, and even the beginning of June, enjoyable, but afte
that the heat rapidly increases, and prevails until well on in Sept-
ember (June 72°, July 76°, August 75°, September 69y2°F.)
Although, owing to the dryness of the air, the heat is less tryinj
than in a northern clime, its long continuance is prejudicial to thi
unaccustomed. There is, in addition, the danger of malaria.

Recent investigations appear to demonstrate that malaria is du<
to a species of mosquito (Anopheles claviger), whose bite during th<
hotter months conveys the virus to man. These insects, however
do not invade the streets and houses of the city, though the out-
lying quarters where vineyards and vegetable- gardens still flourish
such as those in the S. beyond the Palatine and the Aventine, th(
suburbs beyond the Porta San Paolo and the Porta Portuense, anc
to the N.W. of the Vatican, are not exempt. But the surrounding
districts, particularly the pasture lands of the Campagna, are sev-
erely taxed. Fever is here endemic, and breaks out annually ii
July ; it is at its height in August, and only subsides in the autumr
months. The anopheles is most active about sunset, and it is foi
this reason that excursionists from Rome, even during October anc
November, should be back in the city before sunset.

Great strides have been made in sanitation. The rate of mor-
tality, which for 1882-91 was 25 per 1000, was officially declarec
to be under 20 per 1000 in 1901. The Roman drinking-water has

xxvi JtLKiAivrii.

a reputation for sweetness and purity, and might be drunk with
impunity but for the excess of lime which it contliins ; the water
of the Trevi is the most wholesome in this respect.

The hotels and pensions best suited for foreigners all lie in the
best quarters of the town; and there, too, is a large choice of pri-
vate apartments supplied with all needful comforts. A southern
aspect is absolutely essential for the delicate, and highly desirable
for the robust. An Italian proverb says : 'Dove non va U sole, va il
medico'. Rooms on the upper floor are drier than those on the
groundfloor. Carpets and an adequate heating-apparatus are indis-
pensable ; stoves are best, but the more usual fire-places are not to
be disdained, while the braziers (scaldini) beloved of the native
are, of course, to be rejected. Windows should be closed at night.

Inhabitants of more northern countries generally become unusu-
ally susceptible to cold in Italy, and therefore should not omit to be
well supplied with warm clothing for the winter. Even in summer
it is advisable not to wear too light clothing. Flannel is strongly
recommended. In the middle of the day the inside of unheated
buildings is generally colder than the outside, so that it is often
advisable on entering chilly picture-galleries, churches, etc., to
put on an overcoat. It is also advisable to drive to such places and
walk back, as otherwise the visitor has afterwards no opportunity
of regaining the desirable temperature through exercise. — The
Pincio is the safest promenade in Rome, but a prolonged sojourn in
the somewhat damp gardens of the Villa Borghese is not advisable.
The visitor should be careful not to drive in an open carriage after
dark, or to sit in the evening in such malarial places as the Colos-
seum. Exposure to the summer-sun should be avoided as much as
possible in the warmer months. According to a Roman proverb, only
dogs and foreigners (Inglesi) walk in the sun, Christians in the shade.
Umbrellas or goggles of coloured glass (grey, concave glasses to
protect the whole eye are best) may be used with advantage when a
walk in the sun is unavoidable. Blue veils are recommended to
ladies. Repose during the hottest hours is advisable, and a siesta of
moderate length is often refreshing.

Persons with delicate chests often And a winter in Rome very
beneficial. It is less dusty than the Riviera, and not so windy as
the Sicilian health-resorts, though of course considerably cooler.

There are several good English and German doctors in Rome, but it
is sometimes wise, in the case of maladies arising from local causes to
employ native skill. German and English chemists are perferable to'the
Italian. Foreigners frequently suffer from diarrhoea in Italy, which is gener-
ally occasioned by the unwonted heat. Ice and rice are two of the com-
monest remedies. The homoeopathic tincture of camphor may also be
mentioned. In such cases, however, thorough repose is the chief desid-
eratum. A small portable medicine-case, such as those prepared and
stocked with tabloid drugs by Messrs. Burroughs, Wellcome, & Co., Holborn
Viaduct, London, will often be found useful.

BIBLIOGRAPHY.

XIII. Bibliography of Rome.

The literature on the history and topography of Rome, especially
of ancient Rome, is so extensive, that it is impossible to do more
than indicate a few of the most useful modern works on the sub-
ject. On the revival of learning after the dark ages numerous schol-
ars, such as Poggio (1440), Flavio Biondo, and Lucio Fauno, devot-
ed themselves with enthusiasm to exploration in this field. The
most important of the mediaeval works on Rome is NardinVs Borne
Antica (1666), edited by Nibby in 1818.

English.

Archeology and Topogeapht of Ancient Rome. — The Remains o.
Ancient Rome, by J. B. Middle-ton (2 vols. ; Edinburgh, 1892), the best o
the more recent books on the subject. — Ancient Rome in the Light o.
Recent Discoveries (London, 1888), Pagan and Christian Rome (London, 1892)
Ruins and Excavations of Ancient Rome (London , 1897) , Destruction o.
Ancient Rome (London, 19U1), and New Tales of Ancient Rome (London, 1902)
all by R. A. Lanciani. — Stories in Stone from the Roman Forum, by Isabel
Lowell (London, 1903), an unpretending little work. — Rome and the Cam
pagna, by R. Burn (London, 1875). — The City of Rome, by T. H. Dyer,
(2nd ed., London, 1883). — Archaeology of Rome, profusely illustrated (Lon
don, 1872-80), and Architectural History of Rome, both by J. H. Parker.
Architectural Antiquities of Rome, by Taylor dc Cresy (London, 1874). — Rome
Ancient and Modern, by Rev. Dr. Donovan (4 vols. ; London, 1842), based oj
the works of Nibby (see p. xxviii). — Topography of Rome and its Vicinity, b;
Sir William Gell (London, 1846). — For works on the Catacombs, see p. 402

The Cities and Cemeteries of Elruria, by George Dennis ('2nd ed., 2 vols
London, 1883) and Tour to the Sepulchres of Etruria, by Mrs. Hamilton Gra\
(1843) are among the most useful books on Etruria.

Modern Rome. Guide to the Public Collections of Classical Antiquitie
in Rome, by Helbig and Reisch (Engl, translation, 2 vols.; Leipsic, 1895-96)
a valuable and convenient handbook to the sculpture-galleries. — Walk
in Rome (16th ed., 2 vols.; London, 1903), a cicerone for the ordinar
visitor, and Days near Rome (3rd. ed., 2 vols.; London, 1884), both b
A. J. C. Hare. — Rome: itt Monuments, Arts, and Antiquities (London, 1887;
translated from the French of Francis Wey (p. xxviii). — Rome of Toda
and Yesterday by John Dennie (3rd ed. ; New York, 1896). — Ave Roma In
perialis, by F. Marion Crawford (London, 1898). — Rome and Pompeii
Archaeological Rambles (London, 1896), translated from the French of C
Boissier (p. xxviii). — Roba di Roma, by W. W. Story (1863 and several late
editions) describes many of the present and past customs of modern Romi
— Handbook to Christian and Ecclesiastical Rome (4 parts; London, 1897 seq
gives information as to the liturgy in Rome (especially in part ii) and othe
ecclesiastical matters.

Art. For works on modern Italian art generally, see p. lxxv.

History. The reader need scarcely be reminded of the histories (
Gibbon, Arnold, Merivale, Liddell, Gilman, and Bury, nor of the Englis
translations of Mommsen, Niebuhr, Duruy, Ihne, and Ranke. — An Englis
translation of the mediseval history of Gregorovius (p. xxviii) has bee
published (1894 seq.).

Fiction. Transformation, or The Marble Faun, by Nathaniel Hawthorn
contains much incidental matter of interest for the visitor to Rome. — Se
also George Sand's '■Daniella', Andersen's ' Improvisatore' , Miss Roberts
'•Mademoiselle Mori', Ouida's '■Ariadne', Zola's 'Rome', and various nove
by F. Marion Crawford. — Becker's 'Gallus', Cardinal Wiseman's iFabiola
Graham's lNeaera\ LockharCs 'Valerius', and Westlury's 'Acte' are tal(
dealing with the life of ancient Rome.

;x.Vlll mtS^lUliKAfH X .

Foreign.

Italian. Nuova Descrizione di Roma Antica e Moderna 1S20, by C. Fea.
Indicazione Topografica di Roma Antica (5th ed., 1850) and other works

by Canina.
Roma nelV Anno 1838, by Niboy (4 vols.; 1843).
French. Rome, Description et Souvenir, by Francis Wey, a handsome

illustrated work, with 358 wood-cuts (3rd ed., Paris, 1875).
Rome au Steele d'Auguste, by Dezobry (1844). _

Promenades Archiologiques (Paris, 1881), and Nouvelles Promenades (Paris,

1886), both by G- Boissier.
Rome et set Monuments, by Debleser (1882; useful information about

church services and other ecclesiastical matters).
Les AntiquiUs de la Yille de Rome aux XIV<>, XV, el XYI* sieclet, by

E. Miintz (Paris; 1886).
German. Beschreibung Roms, by Niebuhr, Plainer, Bunzen, TJlrichs, and

others, a learned and extensive work forming the basis for all sub-
sequent exploration (6 vols., 1830-42).
Topographie der Stadt Rom im Allerthum, by //. Jordan (3 vols. ; 1871-85).
Topograpfne der Stadt Rom, by 0. Richter (2nd ed. ; 1901).
Formae Urbis Romae, by Kiepert and Hulsen, with comparative maps of

ancient and modern Rome (Berlin, 1896). These three works give

an account of the present state of the excavations.
Italisehe Landeslcunde, by Nissen, treats of the ancient geography of

Italy (3 vols., Berlin, 1883-1902).
Romische Geschichte, by Th. Mommsen (9th ed. ; vols. 1-3 and 5, Berlin,

1902).
Darstellungen aut der Sittengeschichle Roms in der Zeit «o» August bis

zum Ausgang der Antonine, by L. Friedlaender (7th ed.; 2 vols., 1901).
Geschichte der Stadt Rom im Mittelalter, by Ferdinand Gregorovius , a

history of Rome from the 5th to the 16th cent. (5th ed. ; 8 vols.,

Stuttgart, 1903).
Geschichte der Stadt Rom, by A. von Reumont, a history of Rome from

its foundation to 1870 (3 vols. ; Berlin, 1867-70).
Die Rtimischen Pdpsle in den letzten rier Jalrhwnderten, by L. von Ranke

(10th edit.; 3 vols., 1900).
Geschichte Roms und der Papste im Mittelalter, by H. Grisar, S. /., with

special reference to the history of civilization and art (Freiburg, 1901).
Winckelmann und seine Zeilgenossen, by C. Justi (2nd ed. ; 1898).
Das alte Rom, by Biihlmann and Wagner, a panorama with the entry

of Constantine the Great in 312 A.D., is an excellent aid to forming

an idea of the appearance of ancient Rome (Munich, 1891).

History of the City of Eome.

Difficult as it undoubtedly is to trace the career of the Eternal
City throughout upwards of two thousand years , and to mark and
appreciate the manifold vicissitudes which it has undergone, the
traveller will naturally desire to form some acquaintance with
the history of the ancient centre of Western civilisation, the city of
the Republic and Empire, on the ruins of which the seat of a vast
ecclesiastical jurisdiction was afterwards founded, and now the
capital of an important and steadily progressing modern state.
Wherever we tread , our thoughts are involuntarily diverted from
the enjoyment of the present to the contemplation of the past ; and

HTSTORY. xxix

the most careless of pleasure-seekers will find it difficult to with-
stand the peculiar influence of the place. The following sketch is
merely designed to put the traveller in the way of making farthei
researches for himself, and deals exclusively with those leading and
general facts with which he ought to be acquainted before proceed-
ing to explore the city in detail.

As the more remote history of Italy is involved in much ob-
scurity, so also the origin of the city of Rome is to a great extent a
matter of mere conjecture. It was not till a comparatively late
period that the well-known legend of Romulus and Remus was
framed, and the year B. C. 754 fixed as the date of the foundation.
In all probability, however , Rome may lay claim to far greater an-
tiquity. We are led to this conclusion , not only by a number ol
ancient traditions , but also by the discovery in Latium of relics
of the flint -period, an epoch far removed from any written re-
cords. The Palatine was regarded by the ancients as the nucleus
of the city, around which new quarters grouped themselves by slovs
degrees ; and it was here that Romulus is said to have founded his
city, the Roma Quadrata, of which Tacitus (Ann. 12, 24) states the
supposed extent. Modern excavations have brought to light portions
of the wall and of the necropolis that belonged to the most an-
cient settlement (pp. 274, 263). After the town of Romulus had
sprung up on the Palatine, a second, inhabited bySabines, was built
on the Quirinal , and the two were subsequently united into one
community. Whilst each retained its peculiar temples and sanctu-
aries, the Forum , situated between them , and commanded by the
castle and the temple of Jupiter on the Capitol , formed the com-
mon focus and place of assembly of the entire state, and the Forum
and Capitol maintained this importance down to the latest period ol
ancient Rome. The rapid growth of the city is mainly to be attri-
buted to its situation , the most central in the peninsula , alike
adapted for a great commercial town , and for the capital of a vasl
empire. The advantages of its position were thoroughly appreciated
by the ancients themselves , and are thus enumerated by Livj
(5, 54): 'flumen opportunum, quo ex mediterraneis locis fruges
devehantur , quo maritimi commeatus accipiantur , mare vicinum
ad oommoditates nee expositum nimia propinquitate ad pericula
classium externarum , regionum Italia? medium , ad incrementum
urbis natum unice locum'. The Tiber was navigable for sea-going
ships as far as Rome, whilst its tributaries, such as the Anio, Nera,
Chiana, and Topino, contained sufficient water for the river vessels
which maintained a busy traffic between Rome and the interior oi
the peninsula. The state of these rivers has, however, in the course
of ages undergone a complete revolution, chiefly owing to the grad-
ual levelling of the forests on the mountains , and at the present
day the lower part only of the Tiber, below Orte, is navigable.

Whilst the origin of the capital of the world is traditionally re-

HXkJX K/X\ ± .

The Kings.

ferred to Romulus, its extension is attributed with something more
of certainty to Servius Tullius. Around the twin settlements on the
Palatine and Quirinal , extensive suburbs on the Esquiline and
Caelius , as well as on the lower ground between the hills, had
sprung up ; for not only were numerous strangers induced to settle
permanently at Rome on account of its commercial advantages, but
the inhabitants of conquered Latin towns were frequently trans-
planted thither. Out of these heterogeneous elements a new civic
community was organised towards the close of the period of the
kings , and its constitution commemorated by the erection of the
Servian Wall. This structure included an external wall round the
whole of the town, and also the fortifications of the Capitol and other
heights within it. The outer wall led from the N. slope of the Cap-
itol across what was later the Forum of Trajan, skirted the Quirinal,
and turned to the S.E. at the gardens of Sallust (pp. 163, 172).
For more than 3/4 M. at this part of the circuit, where the artificial
defences are not aided by nature , the wall was replaced by a ram-
part about 80 ft. in breadth, with a moat 100 ft. wide in front of it.
Considerable remains of this rampart are extant near the railway-sta-
tion (p. 166). The wall recommenced on the E. side of the Esquiline,
skirted the S. slope of the Caelius, enclosed the two summits of the
Aventine , and ended at the Tiber (below St. Sabina's , p. 286).
While care was taken thus to protect the city externally, the kings
were not less solicitous to embellish the interior with handsome
buildings. To this period belong the Temple of Jupiter Capitolinus
(p. 235), the Circus in the valley between the Palatine and the
Aventine (p. 286), the Career Mamertinus (p. 271), and above
all the Cloaca Maxima (p. 283), destined to drain the swampy site
of the Forum, and still admired for its massive construction. This
energetic and brilliant development of the city under the kings of
the Tarquinian family in the 6th cent. B.C. came to a close with
the expulsion of the last king Tarquinius Superbus (509).

During the first century of the Republic the united efforts of
the citizens were directed to the task of establishing themselves
more securely in the enjoyment of their new acquisitions; and in
this they succeeded , although not without serious difficulty. It
was a hard and bitter period of probation that the nation had to
undergo in the first period of its new liberty, and it was not till the
decline of the Etruscan power that Rome began to breathe freely
again. After protracted struggles she succeeded in conquering and
destroying her formidable rival Veil (396) , a victory by which the
Roman supremacy was established over the south of Etruria as far
as the Ciminian Forest. Shortly afterwards (390) the city, with the
exception of the Capitol, was taken and entirely destroyed by the
Gauls. Although this catastrophe occasioned only a transient loss
of the prestige of Rome, it produced a marked effect on the external

The Republic. HISTORY. xx

features of the city. The work of re-erection was undertaken wii
great precipitation ; the new streets were narrow and crooked, tl
houses poor and unattractive , and down to the time of Augustu
Rome was far from being a handsome city. Her steadily increasii
power, however, could not fail in some degree to influence her a
chitecture. During the contests for the supremacy over Italy , tl
first aqueduct and the first high-road were constructed at Rome 1
Appius Claudius in 312 {Aqua and Via Appia, p. 393); in 272
second aqueduct (Anio Vetus) was erected. Down to the period
the Punic wars Rome had not extended beyond the walls of Servii
Tullius ; but , after the overthrow of Carthage had constituted h
mistress ot the world, the city rapidly increased. The wall was a
most everywhere demolished to make room for new buildings ,
that even in the time of Augustus it was no longer an easy matt
to determine its former position , and new quarters now sprang i
on all sides. During the last century B.C., after the Grseo
Asiatic wars of the previous century had brought the Romans in
contact with the civilisation of the East, the city began to assun
an aspect more worthy of its proud dignity as capital of the civilisf
world. The streets , hitherto unpaved , were now converted in
the massive lava-causeways which are still visible on many of tl
ancient roads (e. g. Via Appia). The highest ambition of tl
opulent nobles was to perpetuate their names by the erection
imposing public buildings. Thus in 184 M. Porcius Cato erecti
the first court of judicature (Basilica Porcia) in the Forum , ai
others followed his example. Speculation in houses was extensive
carried on , and it was by this means that the Triumvir Crassu
among others , amassed his fortune ; for rents were high , and tl
houses of a slight and inexpensive construction. These insulae,
blocks of houses erected for hire , contrasted strikingly with tl
domus, or palaces of the wealthy, which were fitted up with t]
utmost magnificence and luxury. Thus the tribune Clodius , tl
well-known opponent of Cicero, paid 14,800,600 sesterces (i.
about 150,0001.) for his house. The ordinary building materi
consisted of sun-dried bricks (lateres), while the volcanic stoi
(tufa and peperino) of the neighbourhood was used for the mo
ambitious edifices. Among the comparatively few extant buildin;
of the Republican period are the Tabularium of B. C. 78 (p. 249
the Ionic Temple at the Ponte Emilio (p. 285), and the tombs of tl
Scipios (p. 293), Bibulus (p. 202), and Caecilia Metella (p. 395

The transformation of the republic into a Military Despotis
involved the introduction of a new architectural period also. Usur]
ers are generally wont to direct their energies to the constructs
of new buildings, with a view to obscure the lustre of the old
edifices , and to obliterate the associations connected with thei
Caesar himself had formed the most extensive plans of this natur

xxxii a sxuk x . ine Emperors.

but their execution was reserved for his more fortunate nephew. Of
all the ruins of ancient Rome those of the buildings of Augustus
occupy by far the highest rank , both in number and importance.
The points especially worthy of note are the Campus Martins with
the Pantheon (p. 216) and the Thermae of Agrippa (p. 218), the
Theatre of Marcellus (p. 232), the Portions of Octavia (p. 232) and
the Mausoleum of Augustus (p. 198), the Basilica Julia (p. 254),
the Domus Augustana on the Palatine (p. 278) and the Forum of
Augustus with the Temple of Mars (p. 273). No fewer than 82 temples
were restored by Augustus ('templorum omnium conditorem ac resti-
tutorem' as he is termed by Livy), who might well boast of having
foundRome of brick andleftitof marble. The wonderful hard bricks,
the time-resisting qualities of which excite our admiration in the
Roman buildings of the next 500 years, now came into use, supple-
mented by the beautiful travertine from the vicinity of Tivoli, while
the walls were lined with marble from Carrara, Paros and otheT Greek
islands, Numidia ('giallo antico') , Laconia ('rosso antico'), and
Eubcea ('cipollino'). The administration and police-system of the
city were also re-organised by Augustus , who divided Rome into
14 puarters (regiones), adapted to its increased extent (p. xxxiii).
A corps of watchmen (vigiles) , who also served as firemen , was
appointed to guard the city by night. These and other wise in-
stitutions , as well as the magnificence attained by the city under
Augustus, are depicted in glowing terms by his contemporaries.
His successors followed his example in the erection of public edi-
fices , each striving to surpass his predecessors. In this respect
Nero (54-68) displayed the most unbridled ambition. The con-
flagration of the year 64 , which reduced the greater part of Rome
to ashes , having been ignited , it is said , at the emperor's in-
stigation, afforded him an opportunity of rebuilding the whole city
in a modern style and according to a regular plan. For his own use
he erected the 'Oolden House' , a sumptuous palace with gardens,
lakes, and pleasure-grounds of every description, covering an enor-
mous area, extending from the Palatine across the valley of the Co-
losseum, and far up the Esquiline (p. 266). These and other works
were destroyed by his successors, and well merited theirfate ; the frag-
ments which still bear the name of Nero at Rome are insignificant.
The Flavian Dynasty, which followed the Julian , has on the
other hand perpetuated its memory by a number of most imposing
works, which have survived, though in ruins, to the present day
above all the Colosseum (p. 266), which has ever been regarded as
the symbol of the power and greatness of Rome, and the Triumphal
Arch of Titus (p. 265) erected on the summit of the Velia to com-
memorate the destruction of Jerusalem. Under Trajan, architecture
received a new impetus, and indeed attained the highest develop-
ment of which the art was capable at Rome. To this the Forum
of Trajan (p. 274), with the column, and the reliefs afterwards

The EmperofJ. HISTORY. xxxiii

employed to decoiate Constantine's arch, bear eloquent testimony.
Under the next emperor Hadrian the majestic dome of the Pantheon
(p. 216) was erected, but the other monuments of his reign, such
as the Temple of Venus and Boma (p. 265), and his Mausoleum
(p. 314), exhibit traces of degeneracy. The culminating point both
of art and of political greatness had been attained. Thenceforward
the greatness of the empire began gradually, but steadily, to decline.
The same degeneration is seen in the time of the Antoninbs. These
monarchs were remarkable for their excellent qualities as sovereigns,
and their peaceful sway has frequently been regarded as the period
during which mankind, in general enjoyed the greatest prosperity .
There is even a tradition that 'the good old times' will return when the
equestrian statue of the worthy Marcus Aurelius (p. 238) , the gilding
of which has almost entirely disappeared, shall resume its costly cover-
ing. This, however, was but the lull preceding a storm. The great
plague under the latter emperor was the first of a series of fearful
calamities which devastated the empire. Throughout an entire cen-
tury civil wars , incursions of barbarians , famine , and pestilence
succeeded each other without intermission. Although Rome was
less affected by these horrors than the provinces , it is computed
that the population of the city , which at the beginning of the 2nd
cent, was about l1^ million, had dwindled to one-half by the time
of Diocletian. A constant decline in architectural taste is traceable;
but , as building always formed an important feature in the policy
of the emperors, the number and extent of the ruins of this period are
considerable. To this epoch belong the Column of Marcus Aurelius
(p. 200), the Arch of Sept. Severus (p. 257), the magnificent Baths
of Caracalla (p. 291), and the huge Thermae of Diocletian (p. 167).

After the Punic War the walls of the city had been suffered to
fall to decay, and during nearly five centuries Rome was destitute of
fortification. Under the emperor Aurelian in 270 A.D., however,
danger became so imminent that it was deemed necessary again to
protect the city by a wall against the attacks of the barbarians. This
structure is to a great extent identical with that which is still
standing. The latest important ruins of antiquity bear the name of
Constantinb thb Geeat, viz. the Basilica (p. 264), Thermae (pp.
177, 212), and Triumphal Arch (p. 270). The two former were,
however, erected by his rival Maxentius. Constantine manifested
little partiality for Rome and ancient traditions, and the transference
of the seat of empire to Byzantium (in 330) marks a decided turn-
ing-point in the history of the city, as well as in that of the whole
empire. Rome indeed was still great on account of its glorious past
and its magnificent monuments , but in many respects it had sunk
to the level of a mere provincial town. No new works were thence-
forth undertaken, and the old gradually fell to decay.

The eity was still divided, in accordance with the Augustan System,
into fourteen regions, in enumerating which we shall name the principal
ruins helnncinff to each : — 1. Porta Cavena , Via Appia , within the city

Bae 0

xxxiv iUBJ.UK.1. aiae of Christianity.

(p. 290j; 2. Caelimontium , Cselius (p. 294)-, 3. Jsis et Serapis , Colosseum
(p. 263), Baths of Trajan (p. 271) ; 4. Templum Pads, Venus et Roma
(p. 265), Basilica of Constantine (p. 264), Temple of Faustina (p. 263) ; 5. Es-
quiliae, Temple of Minerva Medica (p. 185) ; 6. Alia Semita, Baths of Con-
stantine (p. 212) and Diocletian (p. 167); 7. Via Lata, between the modern
Corso, the Quirinal, and Pineio (p. 197) ; 8. Forum Romanum, the republican
and imperial Fora (pp. 250, 271) and the Capitol (p. 234); 9. Circus Fla-
minius , Theatres of Marcellus fp. 232) and Pompey (p. 228) , Porticus of
Octavia (p. 232), Pantheon (p. 216), Column of Marcus Aurelius (p. 200),
and the Temple of Neptune (p. 200); 10. Palalium, Palatine (p. 275); 11.
Circus Maximus , temple in the Forum Boarium (p. 282) ; 12. Piscina
Publico, Baths of Caracal la (p. 291); 13. Aventinus, Pyramid of Cestius
(p. 289) ; 14. Transtiberim , Trastevere and the Borgo. According to the
statistics of this period, Rome possessed 19 aqueducts; and although four
only of these are now in use, there is probably no city in the world which
can boast of such an excellent supply of water as Eome. The banks of
the Tiber were connected by 8 bridges. There were 423 streets, 1790 palaces,
and 46,602 dwelling-houses. Among the public structures are mentioned 11
Thermse, 856 baths, 1352 fountains in the streets, 36 triumphal arches, 10
basilicas , etc. When the grandeur and magnificence suggested by these
numbers is considered, it may occasion surprise that comparatively so
few relics now remain; but it must be borne in mind that the work of
destruction progressed steadily during nearly a thousand years, and was not
arrested till the era of the Renaissance, but for which even the monuments
still extant would ere now have been consigned to oblivion.

The Catacombs, the earliest burial-places of the Christians,
illustrate the gradual progress of this interesting community, in
spite of every persecution , from the 1st century onwards. At
the beginning of the year 313 Constantine issued his celebrated
decree from Milan, according to Christianity equal rights with all
other religions. This was the decisive step which led to the union
of the church with the state. In 325 the first oecumenical council
was held at Nicsea, and in 337 the emperor caused himself to be
baptised when on his death-bed. Tradition attributes the earliest
ecclesiastical division of Rome into seven diaconates to St. Clement,
the fourth bishop, and St. Peter is said to have founded the first place
of worship in the house of the senator Pudens, now the church of Sant a
Pudenziana (p. 179). To Calixtus I. (218-22) is ascribed the found-
ation of the church of Santa Maria in Trastevere (p. 374), and to
Urban, his successor, that of Santa Cecilia (p. 375). About the begin-
ning of the fourth century Sani1 Alessio and Santa Prisca on the Aven-
tine (pp. 287, 290) are supposed to have been founded. Of these
churches, however, and also of the edifices erected by Constantine,
no trustworthy record has been handed down to us. To that monarch
tradition attributes the foundation of the following churches — the
Lateran, St. Peters, San Paolo Fuori, Santa Croce in Oerusalemme,
Sanf Agnese Fuori, San Lorenzo Fuori, and Santi Pietro e Marcel-
lino at Torre Pignattara (p. 391) — but probably erroneously,
with the exception of the first , which was styled 'omnium urbis
et orbis ecclesiarum mater et caput'. It is, however, noteworthy
that the oldest and most important churches were generally out-
side the gates, or at least in their immediate vicinity; and this is
accounted for by the fact that the Roman aristocracy at first clung

Early Middle Ages. HISTORY. xxxv

tenaciously to the old traditions, and for a long period the city pre-
served its heathen character. The state at length overcame this
antagonism. In 382 the altar of Victoria was removed from the
senate-hall, and in 408 the ancient religion was at length deprived
by a law of Honorius of all its temporal possessions , and thus in-
directly of its spiritual authority also. The destruction of the an-
cient temples, or their transformation into Christian places of wor-
ship now began, and the churches rapidly increased in number. At
this early period Rome possessed 28 parish churches (tituli) , be-
sides numerous chapels, and among them arose the five Patriarchal
Churches, presided over by the pope, and forming a community to
which the whole body of believers throughout the world was con-
sidered to belong. These five were San Oiovanni in Laterano, San
P\etro, San Paolo, San Lorenzo, and Santa Maria Maggiore. Besides
these, Santa Croce in Qerusalemme and San Sebastiano, erected over
the catacombs of the Via Appia, enjoyed special veneration. These
formed the 'Seven Churches of Rome' to which pilgrims flocked from
every part of western Christendom. The number of monasteries now
steadily increased, and at the same time the inroads of poverty made
rapid strides.

In the 4th Century the cultivation of the Roman Campagna
began to be seriously neglected, and in an official document of the
year 395 it is stated that upwards of 500 square miles of arable land
had been abandoned and converted into morass. The malaria at the
same time extended its baneful sway from the coast into the in-
terior of the country. The storms of the barbarian irruptions greatly
aggravated the misery. Although the Vandals and Goths are often
erroneously held responsible for the destruction of all the great
monuments of antiquity , which , on the contrary, Theodoric the
Great did his utmost to protect , Rome doubtless suffered terribly
from having been the scene of their battles and pillagings. In 410
the city was plundered by Alaric, and in 445 by the Vandals , and
in 537 it sustained its first siege from the Goths under Vitiges.
They laid waste the Campagna and cut off all the supplies of water
brought to the city by the aqueducts, but the skill of Belisarius, and
the strength of the walls, particularly those of the Castle of Sant'
Angelo, effectually repelled their attacks on the city. In March,
538, they were at length compelled to abandon their designs, after
having beleaguered the city for upwards of a year. In December,
546, Totila, the king of the Goths, entered Rome, and is said to
have found not more than 500 persons within the walls of the
devastated city. Belisarius then repaired the walls, which had been
partially destroyed, and in 547 he sustained a second siege. In 549
the city again fell into the hands of Totila , but in 552 it was re-
captured by Narses and once'more united with the Byzantine empire.
About this period the city was reduced by war, pestilence, and
poverty to a depth of misery which was never again paralleled, ex-

xxxvi H1STUKI. she Papacy.

cept during the absence of the papal court at Avignon. No thorough
restoration was possible, for the Byzantine emperors cared nothing
for Rome, and in the Lombards arose new enemies to their dynasty
in Italy. In 663 Constans II. visited Rome , an interval of 306
years having elapsed since it had been entered by a Byzantine em-
peror, and availed himself of the opportunity to carry off the last
remains of the bronze with which the ancient monuments were de-
corated. In 755 the Longobards under their duke Aistulf besieged
Rome for two months and ruthlessly devastated the Campagna,
which during the preceding interval of peace had begun to wear a
more smiling aspect. A lamentation of that period begins thus : —

'Nobilibus quondam fueras constructa patronis,
Subdita nunc servis, hen male Roma mis ;

Deseruere tui tanto te tempore reges, *

Cessit et ad Graecos nomen honosque tuns'.

and terminates with the words : —

'Nam nisi te Petri ineritum Paulique foveret,
Tempore jam longo Roma misella fores'.

It was in fact the tradition , indelibly attaching to Rome, of the
great struggles and victories of Christianity which preserved the
city from total destruction. The transformation of heathen into
Christian Rome was accompanied by the gradual development of the
Papacy as the supreme ecclesiastical power in the West. Leo the
Great (440-461) and Gregory the Great (590-604) may be regarded
as the chief originators of this scheme of aggrandisement. These
prelates and their successors were indefatigable in their efforts to
realise their project, and under their auspices, notwithstanding the
poverty and misery into which Rome had sunk , new churches and
monasteries were constantly springing up among the ruins of the
monuments of antiquity , and the last feeble spark of artistic taste
that still survived was devoted to the decoration of these build-
ings. The objects at which they chiefly aimed were independence
of Byzantium, the subjection of the Eastern church to the court of
Rome, and the conversion of the heathen Germans, the accomplish-
ment of which would materially pave the way for their ulterior am-
bitious schemes. In 727 the Longobard king Luitprand presented
Sutri, which had been captured by him, to the pope, this being the
first instance of a town being presented to the church, and this gift
constituted a basis for the subsequent formation of the States of the
Church. In 755, on the invitation of the pope, the Frankish king
Pepin proceeded to Italy and practically put an end to the Byzan-
tine supremacy. It is not known whether that monarch actually
fulfilled his promise of making over the Exarchate of Ravenna and
the other towns to the representative of St. Peter; but it is certain
that the temporal power of the popes and their supremacy over Rome
dates from the grants made by Pepin to the church. On Christmas
Day, in the year 800, Charlemagne was crowned by Leo III, and

The Middle Ages. HISTORY. xxxvi

from that period dates the career of the 'Holy Roman Empire' and
the Medieval History of Rome and the Roman Catholic Church
A characteristic of this period is to he found in the numerous,
many-storied towers of red brick which contrast so strongly witl
the monuments of ancient Rome. This style of architecture was
developed in the Carlovingian epoch, although most of these towers
now extant were not erected before the 12th or 13th century. In
still greater numbers sprang up towers of a defensive character, s
few only of which, such as the so-called Torre di Nerone (p. 176),
are still preserved. The forest of towers , belonging to numerous
different owners , which reared themselves over the ruins of the
mistress of the world , affords at the same time a clue to the
character of the whole epoch; for, in spite of the nominal sway
erercised over the greater part of Europe by the pope and the em-
peror, continual feuds raged both at Rome and elsewhere between
the temporal and spiritual powers , and between the nobility and
the populace. The great monuments of antiquity were now doomed
to utter destruction, and their fate is thus described by the historian
Gregovorius (iii. 565) : —

'Charlemagne had already set the example of carrying off ancienl
columns and sculptures to adorn his cathedral at Aix-la-Chapelle, and the
popes, who regarded the greatest monuments of Rome as the property ol
the state, possessed neither taste, nor time, nor ability to take measures
for their preservation. The plundering of ancient buildings became the
order of the day. The priests were indefatigable in transferring antique
columns and marbles to their churches ; the nobles, and even the abbots.
took possession of magnificent ancient edifices which they disfigured bj
the addition of modern towers ; and the citizens established their work-
shops, rope-walks, and smithies in the towers and circuses of imperial
Home. The fisherman selling his fish near the bridges over the Tiber.
the butcher displaying his meat at the theatre of Marcellus, and the bakei
exposing his bread for sale, deposited their wares on the magnificent slabs
of marble which had once been used as seats by the senators in the
theatre or circus and perhaps by Ceesar, Mark Antony, Augustus, and
other masters of the world. The elaborately sculptured sarcophagi ol
Roman heroes were scattered in every direction and converted into
cisterns, washing-vats, and troughs for swine ; and the table of the tailoi
and the shoemaker was perhaps formed of the cippus of some illustrious
Roman, or of a slab of alabaster once used by some noble Roman matron
for' the display of her jewellery. For several centuries Rome may be said
to have resembled a vast lime-kiln, into which the costliest marbles were
recklessly cast for the purpose of burning lime; and thus did the Ro-
mans incessantly pillage, burn, dismantle, and utterly destroy their glorious
old city'.

Leo IV. (847-855) encircled the 'Leonine City' with a wall, and
erected other useful structures, which indicate a renewed period of
prosperity ; but the ravages of the Saracens in the city and its en-
virons soon prevented farther progress. "When at length these bar-
barians were finally subdued by John X. (914-928), the city was
repeatedly besieged and captured by German armies during the contest
for the imperial supremacy ; and subsequently, in consequence of
incessant civic feuds , the whole city was converted into a number
of distinct fortified Quarters, with castellated houses, in the construe-

xxxviii HISTORY. Modem Times.

tion of which, numerous monuments of antiquity were ruthlessly
destroyed for the sake of the building materials they afforded. Every
temporary Te-establishment of peace was invariably followed by new
scenes of devastation, as when the senator Brancaleone dismantled
no fewer than 140 of the strongholds of the warlike nobles.

The constantly increasing civic and national dissensions at length
compelled Clement V. (1305-16) in 1309 to transfer the seat of the
pontifical government to Avignon, where it remained till 1377,
whilst Rome was successively governed by Guelphs and Ghibellines,
Neapolitans and Germans , Orsini's and Colonna's, and for a brief
period (1347) Cola di Rienzi even succeeded in restoring the an-
cient republican form of government. This was an epoch of the ut-
most misery, when poverty, war, and disease had reduced the popu-
lation to less than 20,000 souls.

A happier era was inaugurated by the return of Gregory XI.
(1370-78) to the city (1377). After the termination of the papal
schism (1378-1417), the new development of the city progressed
rapidly, aided by the vast sums of money which flowed into the papal
coffers, and by the revival of taste for art and science promoted by
Nicholas V. (1447-55), Julius II. (1503-13), LeoX. (1513-22), etc.
In 1527 the city was devastated by the troops of Charles of Bourbon;
but it gradually recovered from the blow, its population again in-
creased, many palaces were reared by papal favourites, while the
popes and their cardinals restored the old churches and vied with
each other in building new ones. This was especially the case dur-
ing the pontificate of Sixtus V. (1585-90), to whom modern Rome
is chiefly indebted for its characteristic features. Comp. p. Ixxiii.

In 1798 a republic was established for a short period at Rome,
and from 1809 to 1814 the city was under the supremacy of France.
A republican form of government was again declared in 1849, in
consequence of the events of 1848, but Pius IX. was restored by the
French in 1850. The city was then garrisoned by 15,000 French
troops, who were withdrawn in 1866, in accordance with the con-
vention of 1864; but they were recalled after the Garibaldian
hostilities of 1867, and were quartered in the environs until the
breaking out of the Franco-Prussian war of 1870. On 20th Sept. of
that year the Italian troops marched into the city, after a bombard-
ment of five hours. The States of the Church are now incorporated
with the kingdom of Italy, of which Rome is once more the capital.
The population of the city in 1870 was about 215,000. — On Jan.
9th, 1878, occurred the death of Victor Emmanuel II. lie was suc-
ceeded by his son, Humbert I. (b. 1844; assassinated July 29th,
1900) and his grandson Victor Emmanuel III. (b. Nov. 11th, 1869).

Chronolog. Table of HISTORY. Emperors and Popes, xx-xix
CHRONOLOGICAL TABLE OF ROMAN EMPERORS AND POPES.

B.C.

Rom. Emp.

Popes. »

A.D.

Rom. Emp.

Popes.

Julius Csesar

238

Gordian III.

murdered.

244

Philip the

Csesar Octa-

Arabian.

vianus Au-

249

Decius.

A.D.

gustus.

251

Gallus and

Tiberius.

Volusianus.

Cornelius,

Caligula.

252

251-252.

Claudius.

253

,/Emilianus.

Lucius I. ,252-253.

Nero.

Valerianus.

Stephen I.,

Martyrdom of
St. Peter.

257

253-257.
Sixtus II.,

Galba.

Linus, 67-79.

260

Gallienus.

267-258.

Otho.

Dionysius,

Vitellius.

268

Claudius II.

259-269.

Vespasian.

270

Aurelian.

Felix I., 269-274.

Titus.

Anacletus, 79-91.

275

Tacitus.

Domitian.

Clement, 91-100

276

Florianus.

Eutychianus.

Nerva.

Probus.

Trajan.

282

Carus.

100

Euaristus.

283

Carinus and

109

Alexander I.

Numerianns.

117

Hadrian.

283

119

Sixtus I.

284

Diocletian.

Caius.

128

Telesphorus.

296

138

AntoninusPius

306

Constantius

JIarcellinus. b

139

Hyginus.

Chlorus and

142

Pius I.

Maximianus

157

Anicetus.

Galerhis.

161

Marcus Au-
relius.

306

Cons tan tine
the Great

168

Soter.

(sole Emp.

177

Eleutherus.

324-337).

180

Commodus.

307

Maximin II.

190

Victor I., 190-202.

Severus.

193

Pertinax.
Didius Ju-

Licinus.

Maxentius.

lianus.

308

Marcellus

193

Septimius

309

Eusebius.

Severus.

311

Melchiades.

202

Zephyrinus,

314

Sylvester I,

202-218.

336

Marcus.

212

Caracalla
(Geta, d. 212.)

337

Constantine II .
Constantius.

Julius I.

217

Macrinus.

Cons tans.

218

Heliogabalus.

Calixtus L, 218

352

Liberius (d. 3GC)

222

Alexander

222.

356

Felix II. (Anti-

Severus.

Urbanus I.,

360

Julian.

Pope).

223

223-230.

363

Jovian.

230

Pontianus,

v u-, oj

235

Maximinus.

230-235.

364

Valenti-

° .

236

Anterus, 235-236.

nian I.

2 a

238

Gordianl. (fell.

Fabianus,

and

'SH

Pupienua and

236-250.

Valens.

S a>

Balbinus.

Ah"

(a) The dates of the popes down to Conslantine are uncertain, having
been handed down bv vague tradition only.

,-b) *<■»— «.» j ».'.i. „f TT-^r-iu^nfi in vy\ (he persecutions of Diocletian
kept th

lx Chronolog. Table of HISTORY. Emperors and Popes.

A.D.

Rom. Emp.

Popes.

A.D.

Rom. Emp.

Popes.

366

Damasus I.

615

Deusdeditus.

367

Gratian.

619

Boniface V.

375

Valentinian 11 .

625

Honorius I.

379

Theodosius(sole
Emp. 392-395)

640

Severinus.
John IV.

383

Arcadius.

642

Theodorus I.

384

Siricius.

649

St. Martin I.

395

Honorius a.

655

St. Eugene I.

398

Anastasius I.

657

St. Vitalianus.

402

Innocent I.

672

Adeodatus.

417

Zosimus.

676

Donus I.

418

Boniface I.

678

St. Agathus.

422

Coelestinus 1.

682

St. Leo II.

425

Valentinian III

684

St. Benedict II.

432

Sixtus III.

685

John V.

440

Leo I., the Great.

686

Conon.

455

Petronins

687

St. Sergius I.

Maximus

701

John VI.

455-

Avitus.

705

John VII.

475

Majorianus.
Lib. Severus.

708

Sisinnius.
Constantine I.

Anthemius.

715

St. Gregory II.

Olybrius.

Hilarus 461-468.

731

St. Gregory III.

Glycerius.

Simplicius

741

St. Zacharias.

Julius Nepos.

468-483.

752

Stephen II.

475

Romulus Au-

Stephen III.

gustulus.

757

St. Paul I.

476

End of the W.

767

Constantine II.

RomanEmpire

768

Philip.

483

Felix III.

Stephen IV.

492

Gelasius I.

772

Hadrian I.

496

Anastasius II.

795

St. Leo III.

498

Symmachus.

Rom. Emp. of

514

Hormisdas.

Germ, origin c

523

John I.

800

Charlemagne.

526

Felix IV.

814

Louis the Pious

530

Boniface II. b

816

Stephen V.

532

John II.

817

St. Paschalis I.

535

St. Agapetus I.

824

Eugene II.

536

St. Silverius.

827

Valentinus.

538

Vigilius.

Gregory IV.

555

Pelagius I.

843

Lothaire.

560

John III.

844

Sergius II.

574

Benedict I.

847

St. Leo IV.

578

Pelagius II.

855

Louis II.

Benedict III.

590

St. Gregory I. the

858

St. Nicholas I.

Great.

867

Hadrian II.

604

Sabinianus.

872

John VIII.

607

Boniface III.

875

Charles the

608

St. Boniface IV.

Bald.

(»•) From 395, the year of the death of Theodosius, the division of the
Empire became permanent; in the above table the Emperors of the W.
Roman Empire only are enumerated.

(t>) Thus far all the popes have been canonised.

(c) The names of a few English sovereigns, especially those who appear
most prominently in papal history, have been added to this column to
facilitate realisation of contemporary history.

Chronolog. Table of HISTORY. Emperors and Popes, xli

A.D.

Rom. Emp.

Popes.

A.D.

Rom. Emp.

Popes.

881

Charles theFat.

1087

Victor III.

883

Marinus I.

1088

Urban II.

884

Hadrian III.

1099

Paschalis II.

885

Stephen VI.

1106

Henry V.

887

Arnulf.

1118

Gelasius II.

891

Formosus.

1119

Calixtus II.

896

[Alfred the

Boniface VI.

1124

Honorius II.

Great of Eng;

Stephen VII.

1125

Lothaire of

897

land,871-901.]

Roinanus I.

Saxony.

Theodoras II.

1130

Innocent II,

898

John IX.

900

Louis the
Child.

Benedict IV.

1138

Conrad III.
of Hohen-

903

Leo V.

staufen.

Christophorus.

1143

Ccelestine II.

904

Sergius HI.

1144

Lucius II.

911

Conrad I.

Anastasius III.

1145

Eugene III.

913

Landonius.

1152

Frederick I.

914

John X.

Barbarossa.

919

Henry I.

1153

Anastasius IV.

928

Leo VI.

1154

[Henry II. of

Hadrian IV.

929

Stephen VIII.

1159

England, 1154

Alexander III.

931

John XI.

1181

-1189.]

Lucius III.

936

Otho I.

Leo VII.

1185

Urban III.

939

Stephen IX.

1187

Gregory VIII.

942

Marinus II.

1187

Clement III.

946

Agapetus 11.

1190

Henry VI.

955

John XII.

1191

Ccelestine III.

963

Leo VIII.

1198

Philip of Swa-

Innocent III.

9S4

Benedict V.

bia and

965

John XIII.

Otho IV.

973

Otho II.

Benedict VI.

[Richard Coeur

974

Benedict VII.
Boniface VII.

de Lion of
England,

983

Otho III.

John XIV.

1189-1199.]

985

John XV.

1212

Frederick II.

996

Gregory V.

1216

[John Lack-

Honorius III.

999

Sylvester II.

1227

land , 1199-

Gregory IX.

1002

Henry II.

1241

1216.]

Ccelestine IV.

1003

John XVII.

1243

Innocent IV.

John XVIII.

1250

Conrad IV.

1009

Sergius IV.

1254

Interregnum.

Alexander IV.

1012

Benedict VIII.

1261

Urban IV.

1024

Conrad II.

John XIX.

1265

Clement IV.

1033

Benedict IX.

1271

Gregory X.

1039

Henry III.

1273

Rudolph of

1045

Gregory VI.

Hapsburg.

Clement II.

1276

Innocent V.

1048

Damasus II.

[Edward I. of

Hadrian V.

1049

St. Leo IX.

England, 1272

John XX.

1055

Victor II.

-1307.]

or XXI.

1056

Henry IV.

1277

Nicholas III,

1057

Stephen X.

1281

Martin IV.

1058

Benedict X.

1285

Honorius IV.

1059

Nicholas II.

1288

Nicholas IV.

[William the

1292

Adolph of

1061

Conqueror,

Alexander II.

Nassau.

1073

1066-1087.)

Gregory VII.

1294

St. Ccelestine V

CHildfihraTid."!

1295

Boniface VIII.

xlii Chronolog. Table of HISTORY. Emperors and Popes.

A.D.

Rom. Emp.

Popes.

A.D.

Rom. Emp.

Popes.

1298

Albert I.

1550

[Mary I. of

Julius III. (Giov.

1303

Benedict XI.

England, 1553

Maria de Monte).

1305

Clement V.

-1558.]

1308

Henry VII. of
Luxembourg.

1555

Marcellus II.
(Marcello Cer-

1314

Louis of Ba-
varia and
Frederick of
Austria.

vino of Siena).
Paul IV. (Gian
Pietro Caraffa
of Naples).

1316

[Edward III. of

John XXII.

1556

Ferdinand I.

1334

England, 1327

Benedict XII.

1559

[Elizabeth of

Pius IV. (Giov.

1342

-1377.]

Clement VI.

England, 1558

Angelo Medici

1346

Charles IV. of

-1603.]

of Milan).

Luxembourg.

1564

Maximilian II

1352

Innocent VI.

1565

St. Pius V.

1362

Urban V.

(Ghislieri of

1370

Gregory XI.

Piedmont).

1378

Wenzel.

Urban VI.

1572

Gregory XIII.

1389

Boniface IX.

(Ugo Buon-

1400

Rupert of the
Palatinate.

compagni of
Bologna).

1404

Innocent VII.

1576

Rudolph II.

1406

Gregory XII.

1585

Sixtus V. (Felice

1409

Alexander V.

Peretti).

1410

Sigismund.

John XXIII.

1590

Urban VII.

1417

[Henry V. of
England, 1413

Martin V.

(Giambattista
Castagna of

1431

-1422.]

Eugene IV.

Rome).

1438

Albert II.

1590

Gregory XIV.

1440

Frederick III.

(Nic. Sfondrati

1447

Nicholas V.

of Milan).

1455

[Henry VI. of

Calixtus III.

1591

Innocent IX.

1458

England, 1422

Pius II. (iEneas

(Giannantonio

-1461.]

Sylvius, Siena).

Facchinetti of

1464

Paul II.

Bologna).

1471

Sixtus IV.
(Francesco della
Rovere of
Savona).

1592

Clement VIII.
(Ippolilo Aldo-
brandini of
Florence).

1484

[Henry VII. of

Innocent VIII.

1605

[James I. of

Leo XI. (Alessan-

England, 1485

(Giov. Batt.

England, 1603

dro Medici).

-1509.]

Cibo of Genoa).

-1625.]

Paul V. (Camillo

1492

Alexander VI.

Borghese).

(Roder. Borgia).

1612

Matthias.

1493

Maximilian I.

1619

Ferdinand II.

1503

[HenryVIII. of

Pius III. (Fran-

1621

[Charles I. of

Gregory XV.

England,1509

cesco Piccolo-

England, 1625

(Alessandro Lu-

-1547.]

mini of Siena).

-1649.]

dovisi).

1503

Julius II. (Giulia-
no della Rovere).

1623

UrbanVIII.(Maf-
feo Barberini).

1513

Leo X. (Giovanni

1637

Ferdinand III.

de' Medici).

1644

[Common-

Innocent X.

1519

Charles V.

wealth and

(Giambattista

1522

Hadrian VI. (De-
del of Utrecht).

Protectorate,
1649-1660.]

Pamflli).

1523

Clement VII.
(Giulio Medici).

1655

Alexander VII.
(Fabio Chigi of
Siena).

1534

Paul III. (Ales-

--„,1..^ TTo««QOa"»

tfi5S

Lannnld T.

MARTINUS V.
14-17 XS~\ 1«1

COLONNA

piusn. piusm.

1503

EUGENIUS IV.
14-31 y" "X 1447

NK'OLAUS V
1447 /" N. 1455

CALIXTUS HI.
14-55 /"3"-x 1458

CONDOLMIEHI ! PARENTUC E LLI

paulus n.

SIXTHS IV.

PICCOLOMINI

BARBO

ALEXANDER VI.

julius n.

1471

BORGIA

ISNOCENTIUS VDL
1484- /-TT\ 1492

DELLAROVERE

CIBO

LEO X. LEOXI. IHADRIATOSVICLEMENSVII.

1513 1513

1521

PAULUS in.
1534- /T"~\ 154S

FARNESE

DELLAROVERE

JULIUS m.
1550 /""7a>. 15S5

MARCELLUS I.
1555

DEL MONTE

CERVINO

BEDEL AtEMCI

paulus w.

1555 X~T^>s 1559

CARRAFA

Pius rv.

1559 /^TN 1565

PIUSV
156G jgl X 1572

GREGORIUSXm.
1572 X \ 1585

SIXTUS Y.
1585 /< >. 1590

r BUONCOMPAGNO

CLEMENS vm.
1592 /*. "\ 1605

PAULUS V.
1605 /-"sTX 1621

GREGORIUS XV.
1621 /T\\ 1623

pEGOBIDSXIT.lNI'n'-'™'!'™'! Ai.nnfiBAVTilvl I RORGHESE

LLTDOVISI

Geograph. inst..von Wagner t Debes, Leipzig.

nfraph.Aust.vonWi

a.£ucr&.T>ebes,L«d

Chronolog. Table of HISTORY. Emperors and Popes, xliii

A.D.

Rom. Emp.

Popes.

A.D.

Rom. Emp.

Popes.

1667

[Charles II. of

Clement IX.

1765

Joseph II.

England, 1660

(Giul. Rospig-

1769

Clement XIV.

-1685.]

liosi).

(Giov. Ant. Gan-

1670

Clement X.
(EmilioAltieri).

ganelli of Ri-
mini).

1676

Innocent XI.
(Benedetto

1775

Pius VI. (Giov.
Ang. Braschi).

Odescalchi).

1790

Leopold II.

1688

[William III.

Alexander XIII.

1792

Francis II.

and Mary II.

(Pietro Otto-

1800

Pius VII. (Gre-

of England,

buoni).

gorio Barnaba

1688-1702.]

Chiaramonti of

1691

Innocent XII.

Cesena).

(Ant. Pigna-

1823

[George IV. of

Leo XII. (Annib.

telli).

England, 182(1

della Genga of

1700

Clement XI.

-1830.]

Spoleto).

(Giov. Franc.

1829

Pius VIII.

Albani).

(Franc. Sav.

1705

Joseph I.

Castiglione of

1711

Charles VI.

Cingoli).

1721

innocent XIII.

1831

Victoria of

Gregory XVI.

(Mich. Ang. de

England,
1837-1901.]

(Mauro Capellari

Conti).

of Belluno).

1724

[George II. of

Benedict XIII.

1846

Pius IX. (Gio-

England, 1727

(Vine. Maria

vanni Maria

-1760.]

Orsini).

Mastai - Feretli

1730

Clement XII.

of Senigallia).

(Lorenzo Cor-

1878

Leo XIII.

sini).

(Gioachino

1740

Benedict XIV.
(Prosp. Lam-

Pecci of Carpi-
neto)).

bertini).

1903

[Edward VII.

Pius X. (Giu-

1742

Charles VII.

of England,

seppe Sarto of

of Bavaria.

king i901.J

Riese, b. June

1745

Francis I.

2nd, 1833, Car-

1758

[George III. of

Clement XIII.

dinal 1893, Pope

England, 1760

(Carlo Rezzo-

Ang. 4th, 19d3).

-1820.]

nico of Venice).

ANCIENT ART.

A Historical Sketch by Prof. Keinhard Kekule von Stradonitz.

"As the streams lose themselves in
the mightier Ocean , 50 the history of
the peoples once distributed along the
Mediterranean shores is absorbed in that
of the mighty Mistress of the World".

NlEBDHK.

The traveller who would not wander through the galleries of
Rome in mere vacant wonderment may hear in mind these words of
Niehuhr. As a preface to the following pages, they will not only
help the intelligent observer to a worthy appreciation of the master-
pieces presented to him, but enable him to invest them with appro-
priate historical associations.

But this is not so easy as it may at first appear; and, strange
as it may seem , the present condition of our knowledge of the
history of antique art makes it more difficult than ever. No one
who is accustomed to use his own eyes, or has learned to do so in
Rome, can have failed to observe a fact in connection with most of
the statues in the Roman museums, in many cases the statues that
have been most celebrated for centuries, which seriously interferes
with the enjoyment to he derived from them ; the fact, namely,
that they have been ruthlessly bathed with mordant acids, trimmed,
retouched, smoothed, polished, and restored in a fashion that is
always arbitrary and frequently senseless. This pernicious practice,
which was applied without exception to everyone of the earlier dis-
coveries that attracted any attention at all, began in Rome and has
maintained its ground longest there ; indeed, is not yet by any means
extinct. Its object was to adapt the works of art for the drawing-
room, to render them more suitable as ornaments for the villa and
the palazzo. But it robbed the ancient sculptures which fell victim
to it of all their original freshness and charm, and it has irrevocably
injured their artistic significance. Apart, however, from this extern-
al treatment, the crowd of statues that fills the Vatican, the Capitol
and the other Roman galleries hears to us a different relation from
that which they bore to Winckelmann and his immediate successors
such as Goethe and Herder. To the latter they represented the
inexhaustible source whence they drew, with ever fresh admiration
all their conceptions of Greek art. But we have access to other and
purer sources. Goethe himself was_keenly alive to the revolution

ANCIENT ART. xlv

in the conception .of art that was created by a closer acquaintance
with the sculptures of the Parthenon. Such a wealth of Greek works
of art has been yielded by the soil of Greece and Asia Minor during
the 19th century, that the material which was at the disposal of
Winckelmann seems in comparison almost miserably scanty, and
certainly not genuine enough nor trustworthy enough to serve as the
basis for a history of art. Even Raphael Mengs, the friend of "Win-
ckelmann, had observed that many of the celebrated masterpieces
in the Roman galleries were merely copies of earlier Greek works
And even those that are not copies do not stand in the same relation
to Imperial Rome as, for example, the frescoes of Fra Angelico in
the Cloisters of St. Mark, or those of Andrea del Sarto in the Church
of the Annunziata to Florence, or as the masterpieces of Raphael and
Michael Angelo to mediaeval and pontifical Rome. These latter orig-
inated, so to speak, with her, were her peculiar attributes, the fitting
emblems of her ecclesiastical supremacy. The genius which created
them, she inspired, fostered, and rewarded. On the other hand,
Rome had as little influence on the marvellous development of Greek
art , as London had upon the Italian Renaissance, on Giotto and
Masaccio, on Raphael and Michael Angelo. In fact, those particular
works, which, while they fill the mind with a wonder akin to awe,
minister to our noblest gratification, and in the presence of whose
marvellous perfection all subsequent efforts are dwarfed into insig-
nificance, occupied in Rome ages ago, and still occupy, a place cor-
responding to that which the masterpieces of the Italian and other
schools of painting fill in the galleries of London, Paris, and Dresden.

A comprehensive general idea of the epochs during which Greek
art sprang up, flourished, and decayed, is now better and more easily
obtained in Greece, London, or Berlin than at Rome. Only a single
epoch is represented with any completeness there — that in which
Greek art entered the service of Rome and became Roman. Students
of the antique at Rome, especially in beginning their studies, naturally
follow the example of Winckelmann, Herder, and Goethe, in search-
ing mainly for authentic Greek works. Though complete present-
ments of the great Greek epochs are not to be found at Rome, the
galleries of that city contain nevertheless an abundance of marvellous
works of art invested with imperishable splendour. There is still,
as there has always been, inexhaustibly rich material for the in-
vestigators into particular works of art or individual artists. "We are
dependent upon Rome for whole series of statues, without which
our conceptions of Greek art would be sadly imperfect ; without the
interposition of the Mistress of the "World, who attracted to herself
all the elements of ancient art, the names of many celebrated Greek
sculptors would have remained mere phantom sounds.

At no period, not even the earliest, can Rome have been absolutely
and entirely beyond the influence of Greek culture and art; but at
first this influence was felt only faintly and indirectly. Roman

slvi ANCIENT^ART."""

authors themselves maintain that all the artistic undertakings of the
first centuries of Rome were performed by Etruscans or after Etrusc-
an models. Artists or works of Greek origin were of only occasional
occurrence. The earliest Importation of Oreek Works of Art on a large
scale did not take place until after the capture of Syracuse in 212
B.C. Then for the first time, says Plutarch, Roman eyes were opened
to the beauty of Greek art. Thenceforward every fresh victory of the
legions on Greek soil brought fresh spoils of art to Rome. Capua
and Tarentum, Eretria and Macedonia, Corinth and Athens were
all laid under the artistic tribute. When Paullus ^Emilius triumphed
over Macedonia in 167 B.C., two hundred and seventy waggon-loads
of statues and pictures — the spoils of seventy cities — swelled the
victor's procession in Rome. Works of art, which were at first
carried off only as the proofs of victory, gradually became more and
more prized for their own sake. Everyone who laid claim to a tinc-
ture of letters sought, by force or fraud, by purchase or exchange,
to obtain works of art for the adornment of his palace, his villa, or
his library. The connoisseur and the enthusiast, the ostentatious
and the fashionable competed, just as they compete to-day, to raise
the prices of recognized works of famous artists. Even under the
emperors, Greece continued to be the artistic emporium of Rome.
Works of all kinds were brought to Rome under Augustus, still
more under Caligula, most of all under Nero. Thus there were col-
lected at Rome Greek works of every epoch and of every school,
works of the highest excellence and others of mediocre value, orig-
inals from the chisels of the great masters, and copies executed to
order. At first the selection was dictated by chance or, rather, by
the greed of acquisition. If any works were preferred to others, they
were those that were imposing , costly , or striking. Gradually,
however, connoisseurship and a critical taste were developed ; but
unpretending or archaic works received little attention unless some
historic event or anecdote was connected with them. On the other
hand the desire to possess what others possessed flourished all the
more; and when the originals were unattainable, copies, and if
possible full-sized copies, were eagerly sought. Dozens of copies of
especially popular statues exist at the present day. Frequently
the costly bronze statues were reproduced in the cheaper marble.
The value of these copies naturally varies very much ; some of them
are very inferior.

Greek Art had passed through many vicissitudes before it be-
came familiarly known to the Romans. Even under the tyrants,
such as Polycrates in Samos and Pisistratus and his sons at Athens,
the artistic activity of Greece was in a flourishing and productive
condition. Archaic Art received its first great impetus at the
period of the Persian Wars ; for the warlike spirit and the military
exploits infused new life into it instead of injuring it. Extant
works have rendered us especially familiar with the achievements

ANCIENT ART. xlvii

of the jEginetan Artists and of the sculptors who were employed on
the external decoration of the temple of Zeus at Olympia. Original
works and copies of this period are not wanting at Rome, though
they have to be carefully sought for among the infinitely more
numerous examples of the later epochs. The most notable ex-
ample is the bronze figure of the Thorn Extractor in the Capitol.
Though this figure is not invested with that so-called 'ideality'
which was formerly conceived of, and is still to a certain extent
conceived of, as obtaining in Greek art , yet it cannot fail to be
both attractive and expressive to all who examine it with suf-
ficient care. There is room for endless admiration in the whole-
hearted attention with which the healthy and slender boy devotes
himself to the matter in hand ; in his simple and natural motion ; in
the striking fidelity to nature shown in the body and in the pure
and clean forms ; in the charmingly archaic reserve of the counten-
ance ; and in the genuinely artistic, tranquil, and fresh spirit that
pervades the entire motive and its execution. Eminent artists of
all periods have been keenly sensible of the charm of the Thorn
Extractor. Variations are still extant, dating both from antiquity
and from the times of the Renaissance. Brunelleschi even adopted
the motive and used it in his relief of the Offering of Isaac. The
Thorn Extractor is unmistakably related to the sculptures of the
Olympian temple of Zeus, but, so far, it has not been possible to
assign it with certainty to any particular artist or even to any partic-
ular school. Pythagoras, a sculptor who flourished in the W. parts
of Greece in the first half of the 5th cent. B.C., has been conjec-
turally mentioned in connection with this statue.

Archaic art seems to have culminated in the Athenian Phidias,
celebrated especially for his colossal chryselephantine statues of
Zeus at Olympia and of Athena in the Parthenon at Athens. The
barriers once thrown down, the path to freedom was first trodden by
Myron, one of the greatest artists that have ever lived. The most
frequently mentioned of his works is a bronze Cow, whose wonderful
fidelity to nature ancient authors extol in innumerable allusions
and comparisons, without, however, giving any details as to its
appearance. We know rather more of Ms Discobolus, bent almost
double in the act of throwing the discus, 'like an arrow sent from
the bow', and of his group of Marsyas and Athena. In this group
the sculptor represents Marsyas in the act of seizing the pipes which
Athena has rejected, and on which he plays while dancing with
delight. He recoils in terror and bewilderment as the goddess,
suddenly appearing, dashes the pipes from his hand. Several stand-
ing figures in repose may also be referred to the stage of art
represented by Myron; e.g. the very ancient statue of Dionysus,
from Tivoli, now in the Museo delle Terme. To this stage, which
immediately preceded and to a certain extent overlapped that which
produced the Parthenon sculptures, belong also several reliefs,

xhiii ancient akt:

among which are the beautiful Relief of Orpheus, represented by an
antique copy in the Villa Albani, and a magnificent and large Attic
Relief of an Equestrian Combat, in the same collection, closely
resembling the metopes of the Parthenon but even excelling them
in excellence of workmanship. — A specially characteristic example
of Athenian art is to be seen in the Standing Discobolus in the Sala
della Biga in the Vatican.

The Myronian stage of art, if we may use that expression, was
closely allied to the stages that followed. This is illustrated by the
Statues of Amazons, of which many replicas (some very poor) are
to be seen in the Roman museums. The earliest type represents a
wounded Amazon quitting the battle and advancing painfully, with
her right hand resting on her spear. In a later type the exhausted and
vanquished Amazon appears in a stationary attitude, with her right
arm resting on her head. This latter type is due to Polycletus,
who must have been familiar with the earlier Attic Amazon. On
the other hand, the so-called Mattei Amazon, whose attitude has not
yet been satisfactorily explained, is a later modification of the type
of Polycletus. Polycletus seems to have enjoyed great popularity
with the Romans. He was the celebrated master of the Argive
Bronze Sculptors in the latter half of the 5th cent. , and was also
extolled as a teacher, following fixed formulae for the attitudes and
proportions of his statues, and enjoining them upon his pupils. His
Doryphorus, surnamed the 'Canon', was regarded as a model of art;
and his Diadumenus was a counterpart to it. The Doryphorus leans
his weight on his right foot, with the left foot a little in the rear;
the head is turned slightly to the side, in an attitude of attention ;
the right arm hangs down, while the left hand grasps a spear resting
on the shoulder. The Diadumenus is in a similar attitude; the
head is also turned to the side, but with a more marked movement ;
the hands are raised and in the act of fastening a fillet round
the head. The proportions of the two statues are harmonious and
attractive, but scarcely so slender as those afterwards in vogue, and
it is easy to understand how the following generations found them
a little heavy. We are also at no loss to understand what the ancient
writers on art mean when they speak of the special attitude which
Polycletus is said to have invented, or of the sameness with which
his statues are charged. The attitude is evidently that of the Dory-
phorus and the Diadumenus, which also recurs in his Amazon. Its
essence is in the position of the feet, while the quiet, well-considered,
and harmonious movement of the body serves to throw into prom-
inence the powerful beauty of the frame, its carefully calculated
symmetry, and the normal proportions of the whole and of the
individual parts, and also allows the most delicate and equally
finished execution of details. To our modern taste the beauty of
these statues seems, indeed, of a somewhat over-muscular and even
coarse type, and we are better able to sympathize with the moderate

ANCIENT ART. xlix

criticism passed upon them by writers of a little later date than
with unqualified praise of their delicacy of execution and attractive
beauty. But it is in precisely such works as these that the desired
effect depends upon that supreme finish which Polycletus is said to
have declared was the real secret of art. Unfortunately we possess
neither an original work of this artist nor any copy of sufficient
excellence to enable us to form an adequate idea of this perfection
of execution.

In the 4th Century B.C. the most famous artists were Scopas,
Praxiteles, and (towards the end) Lysippus of Sikyon.

Scopas was among the sculptors employed about the middle of
the century upon the Mausoleum at Halicarnassus , the sculptured
fragments from whivih dominate our conceptions of the art of that
epoch, just as the Parthenon sculptures do for the age of Pericles,
and the sculptures from Olympia and jEgina for a still earlier epoch.
Few extant works have as yet been traced with certainty to the chisel
of Scopas. In Rome the most important is a Head in the Villa
Medici, now placed upon an antique statue to which it does not be-
long. This head, radiant with intelligent life, recalls the style of the
Vatican Meleager but is incomparably finer.

Comparison with the Mausoleum sculptures indicates that the
beautiful group to which the Pasquino belongs, dates also from this
epoch. Rome possesses only a few fragments from replicas of this
group. Bernini asserted that the sadly mutilated fragment by the
Palazzo Braschi was the best antique sculpture known to him. The
fragments in the Vatican are more conveniently studied.

Tender beauty and grace were the divine attributes of Praxi-
teles and the family of whom he was chief. At the time when
Athens, weary of conflict with the Hellenic confederacy, longed for
peace, one of the family, Cephisodotus the Elder, produced Ms
Irene and Plutus, the goddess of peace bearing in her arms the in-
fantine god of riches, of which there is a copy in the Glyptothek at
Munich. Praxiteles himself belongs to a succeeding generation.
Above all his Aphrodite in Cnidos, his Eros in Thespia, and his Satyr
were the wonder and delight of antiquity ; and now that the excava-
tions at Olympia have yielded his Hermes to our eyes, we can under-
stand and share the enthusiasm of the ancients. At the same time
this single authenticated original of the great master shows us how
little reliance is to be placed on the ordinary copies of his works,
which are so numerous in our museums and so often destitute ol
charm. The sons of Praxiteles, Cephisodotus the Younger and Ti-
marchus, were also celebrated as sculptors.

Among the contemporaries of Scopas was Leochares , whose
chief work was the group of Ganymede borne to Olympus by the
eagle. Recent investigations have tended to refer to the same
epoch the Apollo Belvedere, the most famous statue in Rome. This
beautiful work has long been held to date from a much later period ;

1 ANCI

it was supposed to represent Apollo as the god of slaughter, shout-
ing aloud, and holding the aegis in his left hand, and it was believed
to be a marble replica of a bronze original, that had been created
as a memorial of the repulse of the Gallic invaders from Delphi ir
278 B.C. But the foundations on which this theory was built uj
have been shaken. It is more probable that the god, advancing
slowly, raised his bow with a threatening gesture. The points whict
most seriously interfere with our interpretation of the statue an
due to the modern restorer, who has turned the left hand too fai
out and has raised the right hand too high ; while the ancient sculp-
tor who carved this figure has erred in substituting a heightenec
elegance in the forms for the powerful 'pathos' that signalized his
model. The Steinhauser Head, at Bale, essentially agrees with the
Belvedere Apollo in point of type, and, though it has suffered great-
ly from unsuccessful restoration, shows unmistakable affinities wit!
the epoch of Scopas. Those, therefore, who are dissatisfied with the
Belvedere Apollo as it is, may reconstruct an original for themselves
with the assistance of the Mausoleum sculptures. But the statue as
we have it is none the less a precious possession. No one need be
ashamed of receiving from it , as Goethe did, a deep and inspiring
impression.

It is said that Alexander the Gueat would entrust the execu-
tion of his portrait in sculpture to no one but Lystppus of Sikyot
in the Peloponnesus ; and with the name of Lysippus may be as-
sociated a revolution in taste that culminated in this period. Before
the magnificent marble replica of his Apoxyomenos, the original oJ
which was in bronze, we are face to face with the expression of an
absolutely new epoch. We behold a strikingly tall and slendei
youth, with a small head poised on a long neck, unconstrained and
free in his motions , with feet placed far apart, in a manner well
adapted to the general motive. The effect depends upon the truth
and beauty of the youthful figure in itself and on the charm of
the vigorous motion beneath the apparent repose. We almost see
the left hand moving, the lissom body swaying above the hips, the
whole figure displaying an elastic play of muscles. The hair has a
style and beauty of its own, though the form of the skull can also he
traced. The forehead projects and is made expressive and animated
by cross-lines. The advance in art that is marked by this figure
may be easily appreciated by comparing it with the statue in the
style of Polycletus in the same hall of the Vatican. The proportions
are more slender , while all the forms have become richer more
complex, and more individual, and at the same time nobler and
more natural. Lysippus, like Myron, was famous as an animal sculp-
tor and also, unlike Praxiteles, carved many portraits. He is said to
have produced 1500 works, including large groups, figures of gods
and heroes, portrait-statues, chariots, hunts, lions, dogs and even
bold personifications such as that of Kairos, or Passing Opportunity.

ANCIENT ART. li

Not only their contemporaries but also their immediate posterity
agreed thatLysippus and thepainter Apelles had reached the highest
attainable point in the truthful rendering of nature, as well as in the
more technical mastery of their art. The influence of Lysippus was
much more powerful with the artists of the following century than the
influence of Praxiteles. Theflne Colossal Figures ontheMonte Cavallo
convey perhaps the best idea of the manner in which Lysippus and
his followers treated their numerous colossal works. Among his
sons and pupils, Laippus, Boedas, and Euthycrates, the last was
most highly esteemed.

The conquests of Alexander and all that followed in their train
— the glories and treasures of the East unfolded, mighty monarchies
founded , stately cities built, and growing into centres of wealth and
luxury, new forms of worship consequent upon a more intelligent
study of nature — afforded conditions both material and other,
which stimulated afresh the arts of Architecture and Sculpture.
Henceforward Greek art vied , in the splendours of its colossal pro-
portions, with that of the East. The deeds of victorious monarchs
were her favourite theme : she was indefatigable in the contrivance
of new forms of luxury and fTesh splendours for city, mansion, and
palace. Meanwhile, however, the past was losing its hold upon her.
The traditions of the Periclean age, which told how art was content
to serve the household gods with simple piety and to adorn domestic
life, were but feebly remembered. Places once instinct with art
life were lost in the new and overwhelming growth of cities, now
the emporiums of the world's commerce: Alexandria in Egypt
Antioeh on the Orontes in Syria, Pergarnum, and Rhodes. — As an
example of what Greek art was doing about this time in Egypt, we
may mention the reclining figure of the River Qod of the Nile. Around
this colossal personage , so benignant in aspect , play, with true in-
fantine grace , sixteen cherub-like children. These are symbols of
the 16 cubits , the measure of that periodical rise in the Nile's
waters which annually submerges the land and endows Egypt with
perennial fruitfulness. The types of Isis and Harpocrates also, of
course, were brought from Egypt to Rome. — A pupil of Lysippus,
one Eutyehides, represented the city of Antioch in a group of con-
siderable grace. The tutelary deity (Tyche) of the city is seated on
a rock. In her right hand she holds ears of corn , and on her head
she wears a mural crown ; while at her feet appears, in the shape of
a youth rising out of the earth, the river-god Orontes (the river
actually flows underground for some distance).

The sculptors of Pergamum celebrated the victories of their kings
over the Celts. The statue of the Dying Gaul (the so-called 'Dying
Gladiator'} in the museum of the Capitol, and the Group of Gauls in
the Museo Boncampagni are most impressive examples of the man-
ner in which they were inspired by the theme. The northern barbarian,
differing widely as he did in physique, costume, and habit from

lii A1NU1JSINT A'KT.

the Greek, was a study of engrossing interest to the sculptor, and
was reproduced with physiological accuracy. At the same time,
that the fame of the victor might be magnified to the utmost, the
sculptor sought to embody all that was admirable in the charactei
of the vanquished: his ill-trained but chivalrous valour, his
inflexible determination to die rather than suffer disgrace. So late
as the 4th century A.D. there was still to be seen on the Acropolis
a votive offering of King Attalus in the shape of a group witl
numerous figures representing the struggles of the gods with the
giants, of the Athenians with the Amazons, of the Athenians with th(
Persians, and of Attalus himself with the Celts. Figures in the col-
lections of Venice, Rome, and Naples have been recognised as copied
from these groups. The largest extant work of Pergamenian art is
the Oiants' Frieze, executed under Eumenes II. (197-159 B.C.),
the successor of Attalus I. The remains of this huge work are now
in Berlin. — Rome, as is well known, stood in very close relations
with Pergamum and Rhodes ; and those Romans who were interested
in Hellenic culture were especially attracted by Rhodes, where the
art of sculpture was intelligently fostered and skilfully and pros-
perously practised. The bronze colossus of the Rhodian god oi
the Sun, 105 ft. in height, was regarded as one of the wonders ol
the world. Its execution occupied the Rhodian Chares of Lindos, i
pupil of Lysippus, for twelve years.

The so-called Farnese Bull, by Apollonius and Tatjejscus ol
Tralles, stood in Rhodes until it was brought to Rome by C. Asi-
nius Pollio. This huge marble group produces its striking anc
penetrating effect by the boldness with which architectonic and
plastic principles are united in its composition. In the complexity
and richness of the accessory details and in many other points il
is closely allied with the Pergamenian Giants' Frieze. Probably
about the same period the famous group of Laocoon and his twc
sons, by Agesandeb. and his sons Athenodokus and Poltdokus,
was also brought from Rhodes to Rome. Since the days of Winckel-
mann, who assigned it to the time of Alexander, and of Lessing,
who maintained that it belonged rather to that of Titus, there has
been a constantly recurring controversy as to the date of this group,
Lessing's view finds few modern supporters. A third view, viz.
that the Laocoon dates from about 100 B. C. or a little earlier, will
probably soon come to be generally accepted. Inscriptions contain-
ing the names of the artists have been found, written in letters
the form of which refers them to this date. The group, moreover,
is not composed in the style of a genuinely and purely plastic work,
but rather in the style of a relief, a peculiarity that first appears
about this date. Finally there is an obvious relationship between
the Laocoon and the large Giants' Frieze. It has therefore been con-
cluded, though not without opposition, that the Laocoon is posterior
in date to the Pergamenian frieze.

ANCIENT ART. lii

The first living Greek artists with whom the Romans came intc
anything like frequent intercourse flourished at this period. Cul-
tivated and wealthy Romans not only purchased ancient statues
but also ordered new works of art from the contemporary artists.
These orders were frequently for actual or alleged original works
but quite commonly also for copies or replicas or modifications oi
famous earlier works. The close of the Republic and the begin-
ning of the Empire seems to have been the period at which copies
were most common and best. Rome itself must have contained
nourishing studios, mainly occupied in producing copies and repli-
cas of all kinds and of all sizes.

Among the celebrated artists who apparently worked in Rome
were Pasiteles, a native of Lower Italy and a contemporary oi
Pompey, and Abkesilaos. No work inscribed with the name oi
Pasiteles is known to us. His pupil Stephanos was the sculptoi
of a Statue of a Youth, in the Villa Albani, a work closely repro-
ducing an ancient Greek model, or, at least, very closely related
to some such model. Menelatjs, a pupil of Stephanos, produced
the beautiful group of Electro, and Orestes, in the Museo Bon-
campagni.

The Augustan Age was a period of enlightened patronage not
only for poets and other writers ; art and the artistic handicrafts
also found warm and intelligent encouragement, while both were
assisted by reference to the best models of earlier date. Portraiture
was a branch of art which must always have strongly appealed to
the Romans, both from their whole character and from their habits
of life. The Etruscans, the first teachers of Rome, have bequeathed
to us a large number of plastic portraits, which, though never
dignified in style, are often highly characteristic. There is little
'doubt that there were many portraits faithful both to nature and
to the individual among the Imagines, or painted waxen likenesses
of ancestors, which were preserved in special shrines as treasures
and carried at the head of solemn funeral processions. Greek artists
in Rome, and others who, though not Greek by birth, became so
by study and ambition, attained a high eminence in portraiture.
The splendid Statue of Augustus from Prima Porta may be taken
as a symbol of the artistic ambitions of the Augustan Age. The
emperor stands in a tranquil attitude, self-possessed but observing
every external convenance ; in the act of speaking, he retains a
serious alert expression on his countenance, which has learned to
conceal his inmost thoughts and feelings. The external effect is
half Greek, half Roman. Greek forms appear in the reliefs on the
cuirass, narrating with the exactitude of a document the god-given
triumphs over the Parthians and the Celtiberians. From these it
has been concluded with certainty that the statue was carved about
the year 17 B.C. It is very interesting to compare the other por-
traits of Augustus with this statue, and to seek out the likenesses

liv ANCIENT ART.

of princes and princesses of the Julian house. Many of the heads,
especially among the female members of the family, will recall
types that are still to be seen among the proud inhabitants of Rome
or the Roman mountains. Another famous work is the Bronze
Equestrian Statue of Marcus Aurelius on the Capitol. The frequently
recurring likeness of Caracalla is most masterly ; the artist seems
to have fathomed the inmost depths of that emperor's character and
to represent him in his mental and physical identity with a
ruthless, almost hostile, sharpness of observation. The art of por-
traiture, in fact, retained so high a level in periods when every
other branch of art seemed devoted to decay, that so keen a critic
as Burckhardt was almost inclined to believe in a universal de-
generation of the human race. Yet, after all, achievement in
portraiture is one of the chief standards by which to estimate general
artistic capacity.

Only less attractive than the portraits are the plastic represent-
ations of scenes from actual Roman life, especially those celebrat-
ing their Military Exploits. The best are the reliefs on the Arch of
Titus and the detailed, absolutely correct, and authoritative scenes
on Trajan's Column, which celebrate the excellence and bravery
of the Roman army and all its marches, labours, battles, man-
oeuvres, and successes. These are infinitely more attractive than
the artificial and essentially false hot- house productions of the
preceding eclectic period under Hadrian, in which everything, old
or new, was imitated and pretentiously reproduced. The portrait of
the soldierly Trajan is far more attractive than that of the vain
dilettante Hadrian or of his beautiful favourite Antinous, in which
a somewhat lugubrious solemnity is combined with a smooth and
superficial elegance.

Finally there remain to be noticed the Sarcophagi, which, vari-
ously ornamented with reliefs, are to be seen in museum, in villa,
and in palace court. The only specimen preserved to us from the old
Roman time is the Sarcophagus of L. Cornelius Scipio Barbatus in
the Museum of the Vatican. It resembles an altar both in shape and
style of ornamentation, and is almost the counterpart of an altar still
standing in Pompeii. It is quite consistent with the religious ideas
of antiquity that sepulchral monuments should thus borrow their
form and ornaments from sacred structures ; and all sarcophagi which
have been discovered within the sphere of Greek influence show
a distinctly monumental or architectonic treatment. The Roman
sarcophagi combine much that is essentially Greek with adaptations
from the funeral urns of Etruria. They give signs, however, of an
independent development, and although including a diversity of
shapes and decoration, have for the most part their bas-reliefs ar-
ranged on the front and sides (and, where extraordinary richness of
effect was desiderated, on the back also) as a frieze or band. One
naturally end flavours. .to trace in the decoration bestowed on these

ANCIENT ART. It

repositories of the dead, some indication of their purpose. In many
instances, however, it is evident that appropriateness of design,
if originally acknowledged as indispensable, was presently lost in a
promiscuously lavish decoration. Certainly there is no obscurity in
such allusions to the end of life as we discover in Cupids rowing to
the lighthouse tower, or careering round the goal in the circus. In
such symbolical figures as those of the seasons we are taught to reflect
on the inevitable course of creation, existence, and maturity suc-
ceeded by decay. As Hylas is borne away by the Nymphs, and
Ganymede by the eagle, so we may fancy the soul rapt from its
earthly existence. Hippolytus may serve to recall the virtues of such
as came to an untimely end, Niobe, the grief of the survivors ; sleep-
ing Cupids may symbolise sleep favoured by the Gods, while Ariadne
discovered by Dionysus, Endymion visited by Selene present death
itself as but sleep in unfamiliar guise. On the other hand scenes of
Bacchanalian revelry can hardly be accepted as allusions to the future
state ; scarcely more obvious is the interpretation of the reliefs of
Nereids, Medeas, and many other subjects ; and rarely does any re-
ference of a distinctly personal character go beyond a mere vague
allusion to life and death. It is tolerably certain that these sarco-
phagi were made in large numbers, in advance of immediate require-
ments. A somewhat extraordinary expedient for introducing a
reference to particular individuals, was that of bestowing the linea-
ments of the departed upon such heroes of mythology as were made
to figure in these reliefs. Thus it is we find portraits of the deceased
in such mythical personages as Admetus and Alcestis, in Hippolytus,
and, what is more remarkable, in Phaedra herself. In a considerable
number of cases these reliefs are almost identical, and are evidently
made after one model, with such modifications as might be effected
by the introduction or omission of single figures or groups, showing
nevertheless more or less of artistic intelligence and resource. They
form a group displaying the established forms and traditional
models, which in respect of means of expression and motive are the
worthy inheritance of Greek art at its best. Yet these sarcophagi,
regarded even as Roman works, are by no means of early origin. It
must not, however, be forgotten in estimating the quality of work
bestowed upon the sarcophagus, that it was not intended to be
closely inspected by the light of day, but would be consigned to the
twilight of the tomb, where a stray gleam of light might but for
a moment reveal its detail. Hence , in the execution of these reliefs
the object was to give prominence to leading features, without an
overscrupulous nicety of finish, and this end has been attained with
a success worthy of all admiration. It has, however, been ascertained
beyond doubt, that the introduction of the sarcophagus as described
above was coeval with a mode of burial which became the fashion
in Imperial times ; otherwise the artistic merits of these monuments
might well_have misled us in computing their age. The great

Ivi ANCIEKT AKT.

majority of Roman sarcophagi belong to the 2nd and 3rd centuries
after Christ, or to an even later period,

The Early Christian Sarcophagi simply repeat and perpetuate
preceding pagan models. It is a peculiar coincidence that these in-
conspicuous memorials should have contributed to the revival of art
in the middle ages. Niccolo Pisano found a fertile source of inspi-
ration in the Roman sarcophagi of the Campo Santo in Pisa ; nor
did Peruzzi and Raphael disdain to use them as models.

Raphael was not blind to the very various degrees of excellence
displayed by the sculptures in Rome, and he sought for the explana-
tion of this fact in the pages of history. But all Roman buildings
seemed to him alike admirable, no matter from what period they
dated. In fact, Roman Architectube in all its manifestations has
consistently moved the astonishment and admiration of both artists
and architects — its masses are so grand, its ground-plans so simple
and so well adapted to their ends, the methods used with such clear
appreciation of their possibilities are so imposing, the forms and
decorations at its disposal so unusually rich.

The specifically Roman architecture found its more immediate
models in the Hellenistic countries and cities, just as the specifically
Roman plastic arts had found them. Probably we regard a good
deal as peculiarly Roman simply because we have never seen its
Hellenistic patterns. The student familiar with the three orders of
architecture, viz. the Doric, Ionic, and Corinthian, as they are to be
seen in Athens, and comparing these examples with their reproduc-
tions in Rome, will detect with some misgivings a divergence which
cannot be explained by differences either in forms of worship or
in the general scope of the design (a conspicuous basement with
flights of steps in front). The delicate modelling of the best period
of Greek art was in Roman hands either simplified, and so denuded
of its true artistic significance — looking in short like the work of
the handicraftsman — or so overloaded as to become hopelessly
confused. Even in their most admirable buildings a mere profusion
of superficial decoration is substituted for that perfect harmony
pervading and animating the Greek structure, whether as a whole or
in its minutest detail, which we find in the Parthenon for example.
— But in many instances the process of borrowing from buildings
in Asia Minor of the 4th cent. B.C., or from Hellenistic buildings,
may be clearly traced in all its steps, though the simplifications and
generalizations due to the Roman architects are no less apparent.

The Doric and Ionic orders found comparatively little favour
with the Romans , and where they appear , it is rather in the form
of mural columns than entire shafts. The exquisite taper of the
shaft was thus sacrificed , the capitals were not happily disposed,
and the Doric column instead of springing, as with the Greeks, direct
from the flooring received a separate base. The Tuscan or Italian
order, a very "'^•t*°™"* +" ni-in-iTiatp a n™ style, closely related

ANCIENT ART. lvi

to the Doric, seems to have arisen from attempts to supersede o
modify the Doric order. The favourite style was the more omati
Corinthian ; and the Romans thought to add to the wealth of or-
nament by superimposing the volute and abacus of the Ionic capita
upon the capital already veiled with the graceful form of the acan-
thus leaf, thus forming the so-called Composite capital. Thi
entablature of the earlier orders is easily distinguished. In the Dorii
the architrave rests on the column and is unarticulated, while thi
frieze above the architrave receives the triglyphs at short , regula
intervals. The Ionic architrave on the other hand is divided inti
three horizontal courses, the frieze being without triglyphs. Thi
Corinthian entablature resembles the Ionic, but the cornice is mori
richly articulated, corbels are substituted for the indentations , anc
the whole is richly wreathed with acanthus leaves and other or-
namentation. The Romans attempted still farther to embellish thi
entablature and cornice, by combining the dog-tooth moulding o
the Ionic style with the Corinthian corbels.

Anything like an adequate or truly useful investigation of th(
peculiarities and varieties of Roman architecture demands much mor<
time and much more study than the ordinary traveller can usuall;
afford. He must therefore content himself with a few general im-
pressions. The noblest, happily also the best-preserved building o
old Rome is unquestionably the Pantheon of Agrippa, founded in th(
time of Augustus, but owing its present characteristic form to Had-
rian. In spite of much disfigurement received in later times, thii
vast edifice, comprised in its interior within the precincts of on<
majestic circle, and obtaining the light of heaven from the centre
of its wondrous dome , continues to impress the beholder with un-
failing, overwhelming effect. It resembles a sudden revelation, tha
teaches more than prolonged study.

Both in viewing the monuments of architecture and in inspect-
ing the works of plastic art, the traveller is advised to surrendei
himself to the influence of the greatest and best examples, and nw
to spend himself uselessly in the minute examination of every worl
that comes within his ken. The above sketch has been penned tc
assist the reader to reach this attitude. The endeavour has not beer
to fetter his judgment, but rather so to direct his observation and
stimulate his interest as to give him that self-reliance which alone
will arouse in him an intelligent interest, and afford him a genuine
pleasure in what he sees. To praise the creations of great artists ir
empty or mere conventional phrase would simply offend. They alone
will experience the full measure of delight to be derived from the
contemplation of these treasures, who rely upon their own judgment
and cultivate to the utmost the delicacy of their perceptions.

ROMAN ART.

MEDIAEVAL AND MODERN.

By Prof. Anton Springer.

Rome as Mistress of the World became the centre of contempora-
neous culture. Art had found with her a new term : and Greece as
fitting tribute to the conqueror laid at her feet the accumulated
wealth of ages — the treasures of her art, which long had embodied
the loftiest conception of the beautiful.

Her supremacy secured, Rome became the chief resort of artists,
and their liberal patron. She dictated the tone, alike in taste and
fashion , and determined the destinies of art. Down to mediaeval
times Rome continued to receive the proud title of 'Caput mundi'.
Presently, however, she laid claim to supremacy in another realm
than that of art; and this latter, as the ancient traditions were
gradually outlived, finally fell into neglect. In more recent, as
in former times Rome has failed to create for herself, as the out-
come of her individuality, an art peculiar to and a part of herself.
Her destiny seems to have been to gather from external sources
the wealth in which she revelled , with the difference that while
ancient Rome furnished nothing beyond a magnificent arena for
the art of her day, in later times the artist found in Rome herself
his sources of inspiration , compelled as he was to contemplate
perfection reflected in the dazzling mirror of antique art. Ten
centuries , however , elapsed ere Rome resumed this proud pre-
eminence. A glance may now be directed to the interval between
the fall of old Rome and the period when , animated with a new
life , Rome drew to herself the foremost representatives of the
Renaissance , to whom she afforded inspiration for their grandest
efforts. It is not, however, the 16th century , not the glories of
the Renaissance, that give to the Rome of our day her distinctive
character, but rather the new and imposing exterior which she re-
ceived at the hand of her architects in the 17th century. The mind
must be disenchanted before the veil can be penetrated and the
Rome of antiquity adequately comprehended.

The protracted suspension of all activity in art makes it appa-
rent that Roman aTt has a history distinct from Italian art. For
several centuries the towns of Tuscany were the principal abodes of
a natural art life. But just as in Rome Italian art achieved its
most signal triumphs in the persons of Raphael and Michael Angelo
and the masters of thatperiod : so in Roman ground we find that Chris-
tian art first tjiflk, root ajuL attained to its most important dimen-

ROTTEN ART. )ix

sions. In Rome then we find the strongest inducements as well as
the richest opportunity for the study of Early Christian Art.

In the 4th century heathendom, long tottering to its fall, was,
in appearance at least, absorbed in the younger Christian world. A
new era in art was inaugurated. Not that we are to assume the
abrupt extinction of the pagan art of ancient Rome, nor that it was
suddenly superseded by an altogether new style provided as it were
for the emergency. The eye and hand are to a greater extent crea-
tures of habit than the mind. New views and altered conceptions
of the Supreme Being as well as of the destiny of man found
acceptance. But to embody them the artist had to resort to the old
established forms. The heathen rulers were by no means uni-
formly hostile to Christianity (the period of bitterest persecution
began with the 3rd century A. D.); and that the new doctrine
should have expanded and taken root, should have been permitted
to organise itself in the very midst of heathen society , is evidence
that it was received even with favour.

As a consequence of these conditions it will be observed that
the art of the early Christians presents no remarkable con-
trast to that which precedes it, and that they were content to adopt
and perpetuate the traditions of the antique. The Roman Cata-
combs afford abundant pToof of this. Encircling the city as with
a subterranean trench, they were originally far from being what
they subsequently became — secret, carefully concealed places of
refuge for the iarly Christians; but rather their regularly ordained
and publicly accessible places of burial (e.g. the Catacomb of Nico-
medus and that of Flavia Domitilla~), and were first designedly con-
signed to darkness and concealment during the 3rd century, a period
of constantly recurring persecution. The Christian community,
reared as it was in the midst of Roman paganism, probably did
not dream of subverting the principles of antique art. In the adorn-
ment of the Catacombs they retain the types transmitted to them ;
so also in the particulars of drawing and colour the precedent of
the Antique is closely followed. Christ represented as the Good
Shepherd, Orpheus as the symbol of Christ, and evidences of the long
standing repugnance to any rendering of the Passion-history, afford
proofs of the readiness to accept the art heritage of their precursors.
The older these catacomb paintings are the more closely they ap-
proximate to the types of antiquity. Even the Sarcophagus
Sculpture of the 4th and 5th centuries differs in purpose only, not in
technical rendering of form, from the typical reliefs found on pagan
tombs. It was only in the latter half of the 6th century that a
new style declared itself in painting, which, like other branches of
imitative art, had more or less fallen into a state of decay meanwhile.
Architecture adapted itself to the exigencies of Christian worship,
and in allying itself to the new architectural forms, painting acquires
a new character.

XfcV.LU.Zl.J.1 XVXL X .

The term Basilica is understood to apply to Christian temples
up to the 10th century. The subsequent belief that a more inti-
mate relation than that suggested by a common name subsisted
between these early Christian edifices and the forensic Basilica
of ancient Rome, was altogether an erroneous one. The latter
were in fact the Roman courts of law and places of public meet-
ing. They had a place in most of the towns of the Roman em-
pire and were erected in the forum, but have nothing, whether of
origin or form , essentially in common with the early Christian
temple or church. These forensic basilicas were not adapted to
purposes of Christian worship , nor did the old Roman basilica
serve as a model for the building of Christian places of worship.
In proof of the one assertion may be adduced the fact that the
forensic basilicas at the end of the 4th century retained intact
their original destination , and in individual cases have been
restored; while the other will be justified by an unprejudiced exam-
ination of the various parts of the Christian basilicas, which
give evidence of having sprung from another source than that of
the old Roman basilica. Neither did the temple of antiquity fur-
nish the model for churches built by the early Christians. The
church of Santi Cosmo, e Damiano, of the 6th century, 's the earliest
example of a pagan temple applied to Christian use. The Chris-
tian basilica may be said rather to have grown out of the Roman
dwelling-house, where at first the community was in the habit
of assembling. The plan for future ecclesiastical edifices was
acquired by simply extending the proportions of the dwelling-house.
The churches of San Clemente and Santa Maria in Cosmedin in Rome
are relatively the most perfect examples existing of the architectural
properties and internal arrangement of the early Christian basilica.
A small portico supported by pillars leads to the outer court {atrium),
enclosed by a colonnade andhavingin its midst a fountain (cantharus).
The eastern colonnade leads into the interior of the church which
was usually divided into three aisles. Two rows of columns divide
the side aisles from the loftier one in the centre known as the nave ;
the nave and aisles abut upon a half-circle or apse. At right angles
to these aisles, between them and the apse, was sometimes inter-
posed a third space — the transept ; the altar stood within the apse
and apart beneath a canopy supported by pillars, and in front of it,
enclosed by rails or cancelli, was the choir for the officiating priests
and two pulpits (ambones), one used for reading the Gospel, the other
the Epistles. In marked contrast to the temple of antiquity, little
care was bestowed upon the external architecture of these early
Christian basilicas , the most impressive effect being reserved for
the interior. And to this end, especially in earlier mediaeval times,
a ready expedient for supplying decorative material was adopted in
the plunder of the monuments of antiquity. Columns were carried
off and set up in Christian churches without regard to congruity

TOMAN ART. Ixi

of material or consistency of style. Thus in the churches of Santa
Maria in Trastevere and San Lorenzo fuori le Mura are to be seen
pillars of different material and workmanship. The churches of Santa
Sabina, Santa Maria Maggiore, and others give evidence of similar
depredations. Crosses and lustres in metal , tapestries bestowed by
papal piety contributed to the ornate effect of these interiors. But
the principal decorative feature were the pictures in mosaic which
covered the recess of the apse in particular as well as the arch which
connected the apse with the nave (the Triumphal Arch"). These
Mosaic Pictures, as far , at least, as the material was concerned,
demanded a novel artistic treatment , massive and monumental in
character. In them we find the traditions of antiquity abandoned,
giving place to a style which from its harshness as well as austere
solemnity of conception has been confounded with the Byzantine
style. In reality the art was of indigenous growth; and its salient
characteristic may be defined as the substitution of the real for the
symbolical in general treatment. Now for the first time the pop-
ular mind became thoroughly imbued with ecclesiastical senti-
ment, of which the crucified Saviour was the chief embodiment.
The oldest mosaics , composed of glass cubes , are to be seen in
the church of Santa Pudenziana. They date from the 4th century
like those in Santa Costanza and the Baptistery of Naples ; while
those in Santa Maria Maggiore and Santa Sabina belong to the 5th
century. The mosaics in Santi Cosma e Damiano in the Forum
(526-30) may be pronounced the most beautiful.

The Tudiments of Christian art are to be found in Rome; but
its further development was promoted in an equal degree by other
Italian states. Building was still active in the 9th century , while
the popes of the 7th and Sth centuries , especially Leo III. ,
did good service in church decoration. But during this period
there is no evidence either of progress or continuous develop-
ment in the mosaic art and as little in architecture itself. The
experiment (as seen in Santa Prassede, 9th century) of combining
piers with the pillars of the nave as a support to the walls and of
connecting these with transverse arches was not repeated. Finally it
may be said of the mosaics {Santa Prassede, Santi Nereo ed Achilleo,
San Marco), that, while they bear a superficial resemblance to the
works of the 5th and 6th centuries, they show unmistakable signs of
corruption and decline. This may be accounted for to some extent
by the evil times which had fallen upon Rome since the 9th century,
culminating in a conflagration — the work of an incendiary Guis-
cardo — which in 1084 laid waste the entire southern quarter of
the city, extending from the Forum to the Lateran and to the slopes
of the Esqniline. The chief employment of the architect was the
construction of fortified towers and places of strength rendered
necessary by the ceaseless warring of factions within the city. In
1257 Brancaleone demolished.140 of these strongholds, the majority

lxii XHJXYiAil AXVi .

of -which had been erected on the ruins of some monument of an-
tiquity. The most striking example of the rudeness of early mediaeval
architecture is to be seen in the Casa di Pilato or di Rienzi (p. 285).
Built by one Nicholas, son of Creseentius (probably in the 11th or
12th century), its chief ornamentation consists of marble fragments
apparently picked up at random and put together in the wildest
confusion.

At the close of the 12th century brighter days dawned for
Roman art. 'Magister Romanus' now became a title which the
artist was proud to append to his surname. A speciality in decora-
tive art appeared in Rome about this time which did not connect
itself, it is true, with the traditions of antique art, though ready
to utilise its material, without, however , resort to the depredations
of a bygone age. And material was still at hand in richest abun-
dance, in an endless array of shattered marbles. These were divided
and subdivided, cut or sawn into minute slabs, arranged in patterns,
enlivened by the introduction of stained glass and gold leaf , pre-
senting as a whole a richly coloured decorative effect. These marble
mosaics adorn the flooring of churches, altar sides, episcopal chairs,
pulpits, and doorways; they enliven monumental sculpture; they
fill the flutings of the elegantly twisted columns which bore the
Easter candles or support the entablature of cloistered courts. This
art became the monopoly of particular families and was regularly
transmitted from generation to generation. The monumental
marbles of this time are generally known as Cosmato Work, a name
derived from two members of a family thus privileged. Such work is
frequently to be met with in Rome. Conspicuous among the mosaic
floorings are those of Santa Maria Maggiore, Santa Maria in Traste-
vere, and San Lorenzo fuori le Mura (12th century). San Clemente
and San Giorgio in Velabro possess altar tabernacles of Cosmato work
and San Lorenzo the finest example in its pulpit. Of similar work in
San Paolo fuori le Mura (1 3th cent.) . Cosmato work is not infrequently
cloisters (Santa Sabina, Lateran) the best specimen is in the convent of
found elsewhere than in Rome. It is uncertain how far this Roman
work is connected with kindred examples to be met with in Southern
Italy. In technical detail some differences are to be detected, such
as the more copious use of the glass pastes by the artists of the South.
On the other hand we fancy that the identity of pattern in the mosaics
of the Cappella Palatina in Palermo with those of San Lorenzo cannot
be accidental.

Along with this decorative mosaic work , the Mosaic Painting
of apse and choir- arch had since the 12th century successfully
asserted itself. That impress of the antique borne by the early
Christian mosaics is gone ; the drawing has lost its incisiveness as
well as its traditional typical character, and, in lieu of this, receives
a new and more lively impulse from colour and wealth of ornament.
The mosaics in front of Ihe church of Santa Maria in Trastevere, in

ROTfAN ART. lxiii

the apse of San Clemente (12th century), those in the altar-tribune of
the Lateran (13th century), and finally those in the apse of Santa
Maria Maggiore, the work of Jacobus Torriti in 1295, are examples
of this mosaic painting. — Wall Painting also came once more into
use, as we see from paintings discovered in 1858 in the lower church
of San Clemente — that basilica which in 1108 was lost by a new
structure being built upon it. — And, if church-architecture was con-
fined to the rehabilitating of older edifices or the mere reproduction
of earlier types, the numerous Belfries (the best is that of Santa
Maria in Cosmediri) show an abundant fertility of resource in the
architects of that period. They tower aloft, story upon story follow-
ing in light and airy succession, relieved by flights of slender pillars,
and stand, eloquent tributes to the genius of mediaeval Rome.

The condition of art in Rome, however (particularly in the
14th century), was far behind that of Tuscany. While in Tuscany
popular forces directed by the municipalities provided an ample field
for the cultivation of artistic tastes , Rome was distracted by the
incessant war of factions and families , or the quarrels of the
popes. Strangers were invited to execute works which were beyond
the ordinary resources of art as it then existed in Rome. Dominican
friars introduced Gothic architecture into Rome — Fra Ristoro and
Fra Sisto are probably the builders of the church of Santa Maria sopra
Minerva — and Qiotto (chief of the Florentine school) was summoned
to Rome during the pontificate of Boniface VIII. , and at the in-
stance of his patron Cardinal Gaetano Stefaneschi, to execute a
mosaic (Navieella) for the Porch of St. Peter's, and to paint a
Ciborium (in part preserved in the Sacristy of St. Peter's); probably
also to execute a commission from the Pope, to represent the pro-
clamation of the Jubilee of the year 1300. Of Giotto's Roman con-
temporary Pietro Cavallini we have unfortunately no certain
information.

It was not until the return of the popes from their exile at
Avignon, when Italians held exclusive possession of St. Peter's
chair, and aimed at supremacy amongst the secular powers of the
peninsula ; when the Humanists acquired their short-lived ascen-
dancy at the papal court — that Roman art first approaches its
maturity. Rome indeed had no direct share in the creation of the
Renaissance. To Florence belongs the exclusive and imperishable
renown of this achievement. On the other hand it must not be for-
gotten how powerful an impression the spectacle of the mighty relics
of antiquity must have made upon the receptive minds of the first
Humanists, exciting theiT emulation and inciting to a more reverent
study of the Antique ; neither must it be forgotten that by study of
old Roman artBrunelleschi and Donatello became familiar with those
torms in which they were wont to express their artistic thought,
and so were led to new and unexplored paths in the realm of art.

Once more Rome occupied a foremost place in the history of art

lxiv

xn_/iu.«.n ±\.l\x .

when Pope Nicholas V. (1447-1455), a Humanist, vied with the
Medici in his passion for hooks and huilding. He was hent upon a
renovation of the Vatican Quarter; his ambition was to erect a papal
residence of surpassing splendour ; nay, he entertained designs on
the St. Peter's pile itself and contemplated its reconstruction. The
most imposing work of this period was the Palazzo Venezia begun
by Pietro Barbo (1455), afterwards Pope Paul II. (1464-71), which
is to a great extent mediaeval in character. Leon Battista Alberti,
who resided in Rome about this time and died there in 1472, may
have furnished the plans for this palace. There is documentary
evidence to prove that the Florentine Bernardo (di Matteo) Rossellino
was entrusted with the chief direction of the extensive building
operations of Pope Paul II. ; and that painting in all its branches,
especially as represented by Gentile da Fabriano, was warmly patron-
ized by that pope.

So far indeed had the fostering of art become obligatory on the
occupants of the papal chair, that they could not neglect this
function without forfeiting their individual influence, and impairing
the dignity of their office. The right powers were not, however,
immediately at hand, which should give effect to the building pro-
jects of these Sovereign Pontiffs, enamoured as they were of splen-
dour in every shape. The architect who during the pontificate of
Sixtus IV. (1471-1484) was most employed was not Baccio Pon-
telli, as was at one time supposed, but a son of Francesco di Domen-
ico, surnamed II Caprino, of Settignano. This was Amadeo or Meo
del Caprino, who came to Rome in 1462 and remained there in the
papal service until 1489. He died at Florence in 1501. The build-
ing of San( Agostino and San Pietro in Montorio , as well as the
facades of SanV Apostoli and San Pietro in Vincoli were from his plans.
A celebrated work of this period is the Popes' private chapel in the
Vatican, called after Pope Sixtus the Sistine Chapel, which owes
its chief attractions far less to its architecture, which was perforce
adapted for defensive as well as for ecclesiastical purposes, than to
the artistic decoration of wall and ceiling.

Abundant employment together with the favour which artists
found with dignitaries of the Church had already allured numerous
Tuscan and Umbrian Paintbbs to Rome. Amongst those thus engag-
ed in beautifying the churches of Rome and the Vatican Palace we
meet such Florentine celebrities as Maestri Sandro Botticelli, Filip-
pino Lippi, Domenico Ghirlandajo, Cosimo Rosselli; and from the
Umbrian School the immediate forerunner of Michael Angelo , bold
Luca Signorelli, along with Perugino and Pinturicchio. An attempt
was made to found an Academy, or Guild of St. Luke at Rome. Amongst
its members we find Melozzo da Forl\ (1438-94 ; p. 107), the painter
of a fresco (transferred to canvas) in the Vatican Gallery, representing
the foundation of the Vatican library. — The execution of the Wall
Paintings in the SistinM.Cha^el^hy order of Sixtus IV. , was a moment-

ROMAN ART. lxv

ous event in a time prolific in art enterprise. In accordance with the
then prevailing point of view the acts of Moses are represented as
symbolically parallel to those of Christ. On the left wall are incidents
in the life of Moses by Pinturicchio, Botticelli, Rosselli, Piero di
Cosimo, Signorelli, and Bartolomeo della Gatta, on the Tight wall
events in the life of Christ by Botticelli, Ghirlandajo, Rosselli, and
Perugino. Those lovers of art who are unable to visit Florence before
going to Rome are recommended to make these wall-paintings their
especial study. They will learn from them to appreciate the des-
criptive power of the Florentines and to admire their portraiture,
and will be familiarised with the field subsequently occupied by
the heroes of Italian Art. .

Tuscan Sculptors , too , found their way frequently to Rome
and were constantly employed either as workers in bronze or marble.
Little attention seems , however, to have been paid to the former.
The great bronze doors of St. Peter, the work of Antonio Filarete,
are interesting rather from the wealth of mythological imagery
with which they are embellished, than from their artistic preten-
sions, which will not compare with those of Ghiberti's famous gates.
So much the more powerfully does the sculptor appeal to us in
marble. A taste for profusion and splendour of monumental deco-
ration in adorning the tombs, which fact declares itself in the 15th
century — a result probably of that thirst for fame which is identi-
fied with the Renaissance — gave the sculptor unceasing opportunity
for the exercise of his art, particularly in its purely decorative phases.
There is scarcely a single church of a certain date which does not
contain sepulchral monuments from the close of the 15th century.
The church of Santa Maria del Popolo possesses the largest number.
These monuments are nearly uniform, viz. a sarcophagus surmounted
by a statue of the deceased, and supported by a pedestal ornamented
with a garland of fruit and flowers, and genii. A niche or panelled
screen finished with a medallion of the Madonna forms the usual
background. To the Florentines (Mino da Fiesole) and to the Lom-
bards (Andrea Bregno) belongs the credit of the distinctive character
of the Roman sepulchral monuments. Oiovanni Dalmata was the
able coadjutor of both. The finest examples of this branch of
sculpture were produced under Sixtus IV.

With the pontificate of Martin V. (1417-31) began a period of
special favour for the producers of Tapestry and Goldsmiths'
Work; and, indeed, the minor arts generally found patrons in all
the popes of the 15th cent., with the exception of Calixtus III.
Paul II. especially distinguished himself as a collector and rescued
many ancient works from destruction.

Whoever might have visited Rome in the earlier years of the
16th century would have found himself in the presence of an in-
tense movement in the art world ; he would have found Archi-
tect, Sculptor, and Painter alike occupied with projects of more or

lxvi ROMAN ART.

less grandeur. So far, however, Rome did not in this respect sur-
pass the other chief towns of Italy ; so far art had not assumed that
particular form of life and direction which only the atmosphere of
Rome could sustain, or which the genius of the Vatican alone could
quicken. During the pontificate of Julius II. (1503-1513), where
the golden era of Roman art began, this consummation was actu-
ally achieved.

To Julius belongs the glory of having associated with Rome three
names, Bramante, Michael Angelo, Raphael, everlasting beacons in
the path of art — three men who in the course of the 16th century
(cinquecento) raised modern art to its loftiest pitch of splendour.
His successor Leo X. (1513-1522) of the house of Medici owes
it to his lineage only that he should have transmitted to posterity so
splendid a reputation, — that his name should be associated insepa-
rably with the greatest triumphs of art in modern times. Leo X*
inherited the well-earned fame of his predecessor, but knew not how
either to value or to use his inheritance aright. It was not given him
to sway the imperious temper of Michael Angelo, nor fully to com-
prehend the mighty schemes of Bramante. The latter's chief work,
the rebuilding of St. Peter's, can be adequately studied only in the
collection of original drawings in Florence which set forth the gran-
deur of Bramante's designs in all their completeness ; for so many
different hands were employed in giving effect to these, that little
remains of the original plan. Happily this little, viz. the dome with
the overwhelming impression of vastness it conveys, is of the very
best. Bramante contemplated a central structure in the form of a
Greek cross, rounded at its extremities, which, crowned by a gigantic
dome, should present an ensemble at once simple and majestic.
Succeeding generations have failed to embody Bramante's ideal.
His career, extending probably from 1444 to 1514, is involved in ob-
scurity. Of his works, Rome possesses numerous examples. The cir-
cular chapel in the monastery of San Pietro in Montorio, the court
of Santa Maria delta Pace, and the arcades in the first court of the
Vatican (Cortile di San Damaso) are all by Bramante. The Palazzo
Oiraud and the Cancelleria are no longer ascribed to him (comp.
pp. 317, 227).

"We are wont to wonder at the profusion and splendour, too, of
works to which the cinquecento gave birth. How much richer, how
much more splendid would have been this profusion, had only
these works been carried out as originally designed by the artist's
creative genius !

The same fatality which pursued Bramante's mightiest projects
served to mar Michael Angelo's (1475-1564) supreme effort in the
realm of Plastic Art. The Tomb of Julius II., begun while that
pope was still living, was to consist of a large detached structure with
statues of Moses, St. Paul, and other colossal figures at its projecting
angles, and raneed alone its wall the naked forms of men in chains.

ROMAN ART. Hvii

The work, however, soon came to a standstill, and at last, 30 years
after its commencement (1545), it was placed in the church of San
Pietro in Vincoli, where it now stands, deplorably, a mere fragment
of the original design. Its most striking feature is the tremendous
figure of Moses, rising in wrathful indignation at the worship of the
golden calf, to denounce the idolatry of the Israelites. In addition
to the Moses, Rome contains two conspicuous works from the hand
of Michael Angelo: the Pieth, badly placed in one of the chapels in
St. Peter's, and the Statue of Christ in Santa Maria sopra Minerva.
The former surpasses all other efforts of the great sculptor in the
delicacy of its modelling as well as in the force with which it ap-
peals to human sympathies.

As Fkesco Painter Michael Angelo figures exclusively in
Rome. Tradition tells us how loath he was to exchange the
chisel for the brush, when at the behest of the imperious Julius II.
he undertook the decoration in fresco of the ceiling of the Sistine
Chapel. These frescoes are nevertheless the most important of Mi-
chael Angelo's contributions to art. They afford a wider field for
the exercise of his creative power than sculpture, where plastic
forms, unequal as they are to the demands of his prolific genius, be-
tray him into exaggeration. These frescoes of Michael Angelo are
closely akin to the wall-paintings of Florentine and Umbrian artists
at the close of the 15th century, in which the deliverer of the Israelites
is made to prefigure the Saviour of mankind. How salvation came
to the world, and how proclaimed , is the theme which Michael
Angelo undertakes to illustrate. In the centre piece is depicted the
Creation, the history of Adam and of Noah ; how sin came into the
world, but with sin the promise of redemption. Forecasting all
this we next see the figures of Prophets and Sibyls. In the mar-
ginal pictures we see continued reference to the Redemption, in
the various deliverances of the Jewish people (the brazen serpent,
David and Goliath, the fate of Haman, and Judith), in conformity
i with mediaeval conceptions, together with symbols of the Redemption.
Connecting themselves with the above are the groups occupying the
lunettes, portraying expectation, the anguish of suspense, and con-
trition, which include at once matters of fact and a twofold allusion
to the vicissitudes of the Israelites and the events of our Saviour's
life (progenitors of Christ and Jews captive in Babylon). The sub-
limity of the work is to be attributed very much to the skill with
which mere matters of fact are everywhere subordinated to
the claims of individual action as well as artistic purpose. Moreover
Michael Angelo has contrived so to dispose the various portions of
his vast work, ascending by figures , single and in groups, from the
simply decorative margin to the crowning effort in the centre, so to
adapt them to the place they occupy , that the entire work becomes
architecturally, so to speak, self-supporting ; while the compo-
sition as a whole is wielded with a wealth of resources together

Ixviii ROMAN ART.

with a power of organisation such as no other artist has attained to.
The thoughtful beholder will not confine himself exclusively to the
study of the central pictures. The figures in monochrome and minor
decorations are replete with a beauty peculiar to themselves.

Of the 'Last Judgment', begun by Michael Angelo in 1534 and
unveiled on Christmas Day, 1541, it is difficult, owing to its dilapi-
dated condition, to form an accurate estimate. The unerring auda-
city, however, with which figure and group alike are thrown into
every conceivable attitude and movement, must command a mute and
amazed attention. The two frescoes in the Cappella Paolina in the
Vatican, executed at a later period (1550), reveal, perhaps, a failing
eye but give no evidence of failing mental power.

With the names of Bramante and Michael Angelo is associated
that of Raphael (1483-1520), whose youthful genius had very
early declared itself, first in Perugia and later in Florence. In Rome
are to be seen interesting mementoes of both these periods. In the
Coronation of the Virgin in the Vatican Gallery we see him still in
the trammels of the Umbrian School ; the effects of his Florentine
training are visible in his Entombment of Christ in the Borghese
Gallery (belonging to later periods are the so called Fornarina in the
Barberini Gallery , the portraits of Navagero and Beazzano in the
Palazzo Doria, the Madonna di Foligno, and the Transfiguration,
the master's last work, both in the Vatican Gallery). The majority of
Raphael's easel-pictures are to be found elsewhere than in Rome.

But in Rome only could Raphael have found a field suited to
the exercise of his highest powers in Fresco Painting. The
mural paintings in the state apartments of the popes in the Vatican
palace must first be noticed. In order rightly to appreciate these,
it must not on the one hand be forgotten that fresco - painting
never completely loses its decorative character; nor on the other
must the peculiar position of the Pontificate in the beginning of
the 16th century be lost sight of. In the palace of the Vatican the
same courtly tone, the same pursuit of sensuous pleasures, of the
mere joys of existence , prevailed as in the courts of the younger
Italian dynasties; expressions of national sentiment met with a
favorable reception , while an active agitation on the part of the
Humanists did not appear to have compromised the dignity of
the papal court. These conditions are more or less distinctly
reflected in the frescoes of Raphael. The courti er repeatedly asserts
himself; even a delicate compliment to the patron is not disdained,
nor the ceremonial spectacle excluded. Political as well as personal
allusions are not wanting, while ample space is devoted to the glo-
rification of the Humanistic ideal. Finally, when it is borne in
mind that Raphael was constantly compell ed to defer to the exigen-
cies of the allotted space, to study the separ ate requirements of wall
and ceiling , we gain an insight into the n ature and extent of the
restraints imposed T,T,""._i>"'_?r*!a*- They beset him indeed on

ROMAN ART. lxix

every hand, and constantly compel him to alter or modify his design.
Curiously enough these restrictions are to this day interpreted as
an act of the artist's free and daring will. One wonders at the
amount of theological learning, of philosophical erudition displayed
in the Disputa and the School of Athens, as well as at the inventive-
ness which could connect subjects so remote from one another as
the Heliodorus driven from the Temple , and the expulsion of the
French from Italy. Through the entire range of subjects there
runs a vein of profound and continuous thought. But especially
admirable are alike the discernment which enabled Raphael to
select, from apparently the most heterogeneous sources , matter
suitable for pictorial embodiment; the resolution with which he
guarded the realm of fancy; and his sense of the beautiful,
whereby he was enabled to bring the most intractable material into
subjection to his purpose. These qualities are most conspicuous
in the picture known as the Burning of the Leonine Quarter
(the so-called Borgo~) of Rome , or rather , as the artist's patron
would have it, the conflagration extinguished by intercession
of the pope. The spectator forgets the preposterous demand that
a miracle should be thus palpably depicted: Raphael relegates
the action to the heroic age , fills his picture with figures and
groups of surpassing grandeur and animation (such as succeeding
generations have striven in vain to imitate), and depicts the
confusion, the preparation for rescue and flight with surpassingly
graphic effect. The picture was not what he had been commissioned
to paint; but in lieu of this we have a creation teeming with ima-
ginative power and masterful execution. In like manner Raphael
disposed of the celebrated frescoes in the second Stanza, the Disputa
and the School of Athens. Had he not been required to illustrate a
chapter from the history of dogma (the proclamation of the doctrine
of transubstantiation) or to present a pictorial extract from the
history of ancient philosophy, the task of depicting a procession of
historical celebrities known to fame as fathers of the church or
mundane philosophers could not be particularly inviting. And
further , while Raphael mingled with historical personages figures
purely typical, and in the Disputa represents the assembled com-
pany of believers as beholding a vision , where each individual
present is naturally more or less overpowered by emotion — while
in the School of Athens he especially emphasises the blessedness
of knowledge, the good fortune which leads to the higher paths of
learning (whether his representation literally coincides with the
Diogenes Laertius or Sidonius Apollinaris or not) — he has asserted
with brilliant success the artist's right to supremacy in the realm
of creative fancy.

AfteT the foregoing remarks the unprejudiced reader will need
a hint only as to the mental attitude he should assume as a student
of Raphael'0 ^m-i-a Tf thp m»m onivipr! nf the picture exclusively

lxx ROMAN ART.

occupies his attention, if he must know the name and history of
every figure, and feels it incumbent upon him to admire the in-
tellectual grasp of an artist who gathered his materials from the
remotest provinces of learning and who abounds in literary allusions,
he is no longer in a condition fairly to test the artistic value of
Raphael's works. From this point of view he will fail to detect in
them any essential difference from the allegorical pictures of the
period, nay he may even give precedence to many of these : to the
wall-paintings in the Cappella degli Spagnuoli (Santa Maria Novella
in Florence) for example, which indisputably exhibit greater versati-
lity, a superior daring in the embodiment of the preternatural, and
a loftier conception of the didactic capabilities of art. It is still
a matter of uncertainty how far the erudition displayed by Raphael
was an acquirement of his own or how far he may have relied on
the contributions of contemporary scholars, such for example as Cas-
tiglione, Bembo, and Ariosto, who would in so far share with him
the merit due to fertility of thought. Assuming, however, that Raphael
himself supplied the wealth of literary research which the frescoes of
the Stanze are said to reveal, he would not as artist become more in-
telligible to us. His intellect might thus have been exercised, but
not his imagination. Raphael's pictures will not only be more tho-
roughly enjoyed, but his individuality and purpose will be more per-
fectly apprehended when the effort is made to understand, how the
painter by force of his imagination could out of material for thought,
dead in itself, create new and living forms ; how he imparted to
single figures so distinct a pyschological impress that the mere bear-
ers of historical names are made to appear as representative hu-
man characters ; how subtly he balanced action and repose in his
groups, not dwelling too long on mere beauty of outline and con-
tour, but intent on giving harmonious expression to a more profound
intellectual antithesis. From this point of view, interest in the
works of Raphael will be enlightened and enduring. Numerous pro-
blems will present themselves to the amateur for solution : what
motive Raphael might have had in treating the Disputa and the
School of Athens so differently in respect of colour; how far in the
latter picture the architectural character of the background is
essential to the collective impression to be conveyed; for what
reason the domain of portraiture is here narrowed to the utmost,
while there (Jurisprudence) it is extended ; what were the grounds
for the manifold changes in composition which are accurately
traced in his numerous sketches, etc.

The condition of the Stanze frescoes is such, alas, as to afford any-
thing but unqualified gratification, just as in the Logge we regret-
fully trace the departed glory of unique examples of decorative art,
and with difficulty recognise the summit of Raphael's attainments in
the grievously injured Tapestries. These latter, it is true in the
detail of their "nm-nneitirm mav be studied in the cartoons now in

ROMAN ART. lxxi

the South Kensington Museum ; but the subordinate decorations, mar-
ginal arabesques and the like are still in part preserved in the ori-
ginal tapestries, and are essential to the festive character of orna-
mentation originally designed for the Sistine Chapel. To the ten
tapestries so long known, an eleventh discovered in the depot of the
Vatican has been added. These tapestries were to have adorned
the lower compartment of the chapel walls and to this end they
must correspond with the companion pictures : that, while these re-
late the history of Redemption, they, the former, should portray the
power and grace of God abiding with the Church.

In apparently irreconcileable contrast to Raphael's works in the
Vatican we have his frescoes in the gay Villa Farnesina. On the
one hand we are awed by devotional fervour, sublime aspiration,
thought earnest and profound ; on the other we find art revelling in
the joys of life, each form radiant with an ecstasy of innocent mirth.
Nevertheless it will cost no great effort to discern in the Farnesina
frescoes the impress of Raphael's genius. He was indebted for his
version of the myth of Cupid and Psyche to a work of Apuleius, fa-
miliar to readers of the 16th century as it had been to the Romans
of old. Probably no author either in ancient or modern times can
boast a more captivating illustration than Apuleius , while at the
same time none has been more freely handled by his illustrator.
In Raphael's hands the myth is moulded anew. Remembering that
it was the adornment of a festive chamber he had in hand, Raphael
sedulously avoided everything repugnant to the festive mood . Pysche's
woes were consigned to the background; the painter is intent upon
recording her triumphs only. The confined space afforded by the
chamber serves only to stimulate the artist's mastery of form. Ra-
phael's representation of the myth is condensed : many scenes are
but glanced at for a moment, though essentials never escape him ;
thus the claims of narration and decoration are adjusted without
restraint. Harmony alike in idea and form ; nobility of proportion
never overstepping the bounds of refinement ; the power of so losing
himself in his subject as to present it devoid of individual caprice :
attributes characteristic of Raphael as these are declare themselves
in the frescoes of the Faruesina as unmistakably as in the wall
paintings of the Vatican. The spectator's own unassisted eye will
not fail to see that the pictures on the ceiling of the principal saloon
are far inferior in execution to the so-called Galatea in the neigh-
bouring apartment. He will find nevertheless that both are such as
will reward careful study with the highest gratification — a delight
it must be a lasting desire to renew.

The inaccessibility of the upper rooms of the Farnesina, adorned
by BazziofSienafca. 1477-1549; p. 22), commonly known as Sodoma,
with his painting of the Nuptials of Alexander with Roxana, cannot
be too much regretted. In the embodiment of sensuous grace and
beauty, Raphael found in Sodoma a worthy rival.

lxxii ROMAN ART.

In the Sibyls of Raphael in Santa Maria della Pace (1514) we find
Mm competing — if the expression may be allowed — in another
field. Here he trenches upon the domain of MiGhael Angelo ; not,
however, that he is for a moment hetrayed into disingenuousness by
contact with a presence so overpowering , or that he is beguiled into
assuming a style foreign to his genius. True to himself, he accepts the
limits prescribed by his subject, and combines an air of pleasing sere-
nity and infinite grace with the expression of prophetic inspiration.

Around these three art heroes, Bramante, Raphael, and Michael
Angelo, is grouped a brilliant circle of pupils and dependents. The
best works of the School of Raphael are undoubtedly those executed
in his lifetime and under his direction. Qiulio Romano (1492-1546)
and Francesco Penni (1488-1528) had a considerable share in the
painting of the Hall of Constantine ; the completion of the Loggia
paintings was entrusted to them , Perin del Vaga (1499-1547),
Raffaello dal Colle, and others. For the decorative ornamentation of
the Logge and the Farnesina the master engaged the services of
Oiovanni da Vdine (1487-1564). Giulio Romano exhibits himself
most clearly as a pupil of Raphael in the Villa Madama, less so in
his Madonnas (Gal. Colonna and Borghese).

The crowd of Architects, who appeared in Bramante's time,
showed greater independence: Baldassare Peruzzi (1481-1536; p. 22),
who built the Farnesina and Pal. Massimi, Raphael himself and Giu-
lio Romano (Villa Madama), Antonio da Sangallo the younger, with
whom originated the Pal. Farnese and a new plan for St. Peter's,
and lastly Michael Angelo , whose influence, gradually deposing
Bramante, irresistibly impelled the architecture of Rome into new
courses. And just as in plastic art he scornfully rejects the recognised
forms and forces upon them a new construction , in like manner as
architect he concerns himself little about the accurate adjustment of
subordinate parts, intent rather upon the effect to be produced by the
structure as a whole — usually one of ponderous immensity. The
colonnades in the Palazzo Farnese, the conversion of the Baths of
Diocletian into the church of Santa Maria degli Angeli — a work subse-
quently spoiled — and the Porta Pia are among his chief works. His
chief merit consists in his having reverted to the plans of Bramante
for the completion of St. Peter's, which since 1546 had been under
his superintendence. The cupola at least was carried out according
to his designs , but the ground-plan, to the injury of the building,
was much altered, and the Latin substituted for the Greek Cross.

As long as the 'divine' Michael Angelo lived, Rome was so dazzled
by the splendour of his renown that no one suspected the Decline
of Aet was at hand. In fact, however, it had already declared itself
at the death of Raphael. Rome once more captured and pillaged ;
orthodoxy reinstated ; the church recoiling from the taint of Hu-
manism : these were incisive events in the history of art, which now
received a mor° <«=tin<>.t.ivfilv pccJesiasiical direction. The foreign

ROMAN ART. lxxiii

occupation of Rome expelled a vast number of her artists and laid a
chasm in the traditions of her art. As she once more recovered herself
and under the pontificate of Sixtus V. (Felice Peretti, 1585-90) was
to all appearance again invested with her pristine grandeur, the en-
couragement of art was revived, but in a spirit which presently pervaded
and brought into subjection every phase of art. To Sixtus V. the
Eternal City, which 'forthwith doubled itself, owes her present
aspect. The Acqua Felice, the Via Sistina, the Piazza di San Gio-
vanni in Laterano, the Obelisk in the Piazza of St. Peter, the re-
storation of the Columns of Trajan and Marcus Aurelius are his
work. Domenico Fontana of Ticino was foremost in giving effect to
this pope's projects. The authors of the degenerated Renaissance
known as Baroque were really Vignola (1507-73) and Fontana's
nephew Carlo Maderna (1556-1629). In the Jesuit church of Qesii
(1568) the former furnished the type of the style which prevailed
during the following century, especially in the numberless Jesuit
churches then built. Maderna with Borromini and Carlo Fontana were
the leaders of that band of artists who conspired to rob architecture
of its fitting repose, and by the introduction of figures posed in start-
ling attitudes, aroused or convulsed by agency unseen, of curves in-
stead of straight lines, of pillar piled upon pillar, substituted a tur-
bulent unrest. Not that the style was without striking and artistic
effect. An undoubted vigour in the disposition of detail, a feeling
for vastness and pomp , together with an internal decoration which
spared neither colour nor costly material to secure an effect of dazz-
ling splendour : such are the distinguishing attributes of the Ba-
roque style as in Rome it is to be seen on every hand, not only in an
endless succession of churches (Sant' Ignazio, Sant' Andrea delta
Valle, San Carlo alle Quattro Fontane, etc.), but in numerous palaces,
the Barberini being a conspicuous example. The reader will, how-
ever, scarcely dwell on these works longer than will suffice to give
him a clear general impression of their character.

A greater tenacity of life is, however, inherent in the art of
Painting. An altogether deplorable interval now ensued, during
which artistic talent was beguiled by Michael Angelo's overwhelm-
ing ascendency into a slavish imitativeness, content with the least
possible effort to crowd into a given space the greatest possible
numberof unmeaning figures, not devoid, however, of a certain super-
ficial charm sufficient to captivate the eye. After an interval thus
occupied and identified with this supremacy of the Mannerist
School (Arpino, Zucchero), painting once more, at the close of the
16th century, was galvanised into a new life, destined to be of
brief duration — Rome becomes a scene of conflict in which painters
and their partisans are the combatants. During the reigns of the
popes from Sixtus V. to Clement VIII. the fashionable artists were
Circignani, surnamed Pomarancio, and his pupil Roncalli. It was
not, however, till the accession of Paul V. (1605-21), a member of

Ixxiv ROMAN ART.

the Borghese family, that the interest in art became again widely
spread. It -was about this period that Rubens visited Rome, where
he profited by a study of the best qualities of every school, without
identifying himself with any.

Caravaggio (1569-1609) was the chief of the Naturalist School.
He was triumphant in the possession of popular favour. On the other
hand it was objected that his drawing was bad, that he failed in the
essential of grouping the figures in his larger compositions. Never-
theless the mass is presented with such startling reality, and ani-
mated with gesture so impassioned, that every figure fitly assert s it-
self, while a corresponding force in colour conveys an impression
powerfully suggestive of the turbulent licence then prevailing. —
The Eclectics took an opposite direction. Trained in a regularly-
constituted school of art, such as had been established at Bologna,
initiated moreover in the art of Correggio and the Venetians, full
of reverence for more remote traditions, thoroughly versed in the
rules of drawing and composition as well as familiar with the fresco
painter's art — thus formidably equipped, Annibale Carraeci, Bo-
menichino, Guido Reni, Ouercino appeared amongst the rival aspi-
rants to fame in Rome. They supplanted the Naturalists, appro-
priating as much of the latters' method as appeared available, and
finally monopolised the favour of the court and aristocracy. Nor
was the struggle by any means confined to the palette and the
brush. Personalities arose, and amongst themselves the partisans of
Carraeci were seldom at peace. Their contributions are in part, at
any rate, of the highest excellence. Annibale Carraeci' s frescoes in
the Palazzo Farnese ; Ouido Rents Aurora in the Casino Rospigliosi;
the frescoes of Domenichino in San Luigi dei Francesi, Sant' Andrea
della Valle , at Grotta Ferrata near Rome, are not mere master-
pieces of technical skill, but are replete with artistic beauty and
vitality. Easel-paintings of this school abound in the Roman gal-
leries and enjoy a considerable popularity; among them may be
mentioned Domenichino's Last Communion of St. Jerome, Sacehi's
St. Romualdus (both in the Vatican Gallery) , and numerous Ma-
donnas by Sassoferrato, painted under the inspiration of Guido Reni.

The Neapolitan sculptor Lorenzo Bernini (1598-1680) flourished
up to the close of the 17th century. His works occupy the concluding
chapter in the history of Roman Art. It is superfluous to bid the be-
holder beware of being led captive by art essentially flimsy and mere-
tricious ; rather perhaps it is necessary, as a set off against the now
prevailing depreciation of Bernini's works, to plead the important
historical significance they possess amidst all their too conspicuous
defects ; to bear in mind that throughout the course of nearly a
century they were regarded as the most brilliant production of
that period and were very generally imitated.

Since the 17th century, Rome has not given birth to nor nur-
tured any dieC3c^~^ '^ ik~""WT>° *"«' has held artists of

ROMAN ART. lxxv

all nations spell-bound, compelling the conviction that Rome is still
the true University of Art, whose teaching is indispensable to
every true artist. So late as the close of the 18th and the beginning
of the present century, Rome continued to give proofs of the potency
of her influence. "Without the suggestions which Rome alone could
furnish, David would never have received that classical impulse
which he turned to such admirable account in France. Asmus
Carstens, the father of the classical style of modern German art,
also made his home in Rome. Amid the art-collections of Rome
alone could Thorvaldsen, the 'Greek of the 19th century', have
worthily perfected his talents. In the absence of such inspiration
as the spectacle of Rome's masterpieces alone can afford, Cornelius
and his associates would never have had the courage to attempt the
revial of fresco-painting.

Thus it was that Rome reacted on the destinies of modern art,
though without an art life she could call her own. During the last
fifty years, however, she has lost much of her importance even in
this respect, through the altered tendencies of the artistic schools
of France, Belgium, and Germany. Foreign painters and sculptors
still visit Rome, but it has entirely ceased to dictate the tone of
European art. In place of this, Rome may perhaps become the
centre of a new Italian school of art, though the productions of
modern Roman artists have hitherto scarcely warranted the suppo-
sition. At the beginning of this century building wholly ceased at
Rome, and the works of monumental painting, such as Podesti's
frescoes in the Vatican, prove that the traditions of the classic period
had been utterly forgotten. Since , however, Rome has been the
capital of a united Italy, increased activity has been manifested in
the field of art, and the clever Roman stone-masons have had
abundant opportunity to show their skill in the ornamentation of
handsome modern edifices. The resuscitation of a truly elevated
style of sculpture is hindered by the tendency to exaggerated
realism and the undue value laid upon mere mechanical dexterity,
which seem nowhere so much out of place as at Rome. In painting
Rome has not yet outstripped the flourishing schools of North Italy.

Among the best works on Italian art are MorelWs Italian Painters ;
Crowe it CavalcaselW s History of Painting in Italy (new edit. ; 19J3 seq.) and
History of Painting in North Italy ; Kuglers Handbook of Painting (new edit,
by Sir H. Layanl); Mrs. Jamesons Lives of the. Italian Painters; Mr. Bernhardt
Berenson's Central Italian Painters, and other works ; the various writings
of Dr. Jean Paul Richter; and the works of Mr. C. C. Perkins on Italian
Sculpture. A convenient and trustworthy manual far the traveller in Italy
is Burckhardt's Cicerone (translated by Mrs. A. H. dough).

Ixxvi

Glossary of Art Terms.

Affricano, a dark variegated marble
from the Greek island of Chios.

Ambo (pi. Ambones), a reading-desk
or pulpit placed beside the choir-
screen in early basilicas. In Rome
ambones are usually in pairs, the S.
for theBpistle, theN. for the Gospel.

Apsis, Tribuna, the vaulted semicir-
cular or polygonal recess at the
end of the choir. Comp. Basilica.

Archaic, as a term in art-history, is
equivalent to 'pre-Phidian\

Archaislic describes works in the
archaic style, but executed in a later
age, e.g. by Fasiteles (p. liii).

Attica, Attic Story, a low story with
pilasters instead of pillars.

Badia, Abbadia, abbey, convent.

Baldacchino, a canopy supported by
four columns over the altar.

Basilica, a rectangular edifice with
the nave loftier than the aisles, and
a recess or hemicycle at the end
of the nave. For the early-Christian
basilicas, see p. lx.

BrecciaoT Brocatello, a kind of marble-
conglomerate.

Bucranion, an antique architectonic
ornament in the form of an ox's skull.

Campanile, the detached belfry of
Italian churches.

Ciborium, originally = Baldacchino
(see above) ; now the receptacle on
the altar for the Host.

Cinguecento, the 16th century.

Cipollino, a green-veined white marble
from Kubosa.

Cippus, a cubical tombstone, some-
times hollowed out to receive the
ashes ; also a boundary-stone.

Cista, a toilet-case, generally of bronze,
and sometimes richly decorated.

Confessio, a chamber beneath the high-
altar, containing the tomb of the
saint ; the origin of the crypt.

Cosmalo Work, mosaic-work of colour-
ed marbles, glass-paste, and gold-
leaf found on columns, choir-
screens, and altars in Roman
churches. Comp. p. lxii

Diptych, a folding tablet with two
leaves, of wood, ivory, metal, etc.

Exedra, a recess or hemicycle pro-
jecting from an ancient building.

Giallo Antico, yellow Numidian mar-
ble, veined with red.

Eermes (pi. Eermae), a bust attached
to a quadrangular pillar.

Loggia, an open arcade, occurring
both on the exterior walls of pal-
azzi and in their courts.

Municipio, a municipality \ sometimes
= town-hall.

Nero Antico, black Laconian marble.

Niello Work, incised designs on silver
or gold plates, with the lines filled
up with a black composition.

Opus Alexandriwum, a kind of stone
mosaic used for pavements (12th
and 13th cent.).

Opus Reticulatum (net-work), masonry
with the joints running in diagonal
lines.

Opus Spicatum, pavement of small
bricks laid on their edge in herring-
bone fashion.

Palazzo Comunale, Pal. Pubblico, a
townhall.

Pavonazzetto, a yellow marble shot
with blue.

Peperino, volcanic tufa from the vic-
inity of Rome (so called from the
black grains it contains, like pepper-
corns). Comp. p. 407.

Pieta, a representation of the Madon-
na with the dead Christ.

Porta Santa, a kind of breccia, of
mingled red, white, black, blue, and
violet; used in the Porta Santa
(p. 321).

Porticus, a roofed colonnade, either
enclosing a space or in a straight
line; not to be confounded with
portico, a porch.

Predella, a small narrow painting
placed under a large altar-piece.

Putlo, the figure of a child.

Quattrocento, the 15th century.

Rosso Antico, a brownish-red marble
found in Greece.

Rustica Work, masonry of large rough
blocks, draughted or smoothed
round the edges only.

Termini, the Latin expression for
Hermae (see above).

Travertine, a kind of limestone found
near Tivoli.

Triclinium, the dining-room of an
ancient house.

Triumphal Arch in churches is the
lofty arch dividing the choir from
the transept or the nave (p lxi).

Villa, a country-estate, including the
house and park. The house itself
- the villa in the English sense -
is called Casino.

FIRST SECTION.

S. TUSCANY. DMBKIA. THE MARCHES.

1. From Leghorn or Pisa to Rome by the Maremme ... 2

Piombino and Populonia,3. — Massa Marittima. Rusellse, 4.

— Monte Argentario, 5. — From Montalto to Vulci, 5. —
From Civita Vecchia to Tolfa, 8.

2. From Leghorn to Voltena 9

The Boracic Acid Works on Monte Cerboli, 10. — From
Volterra to San Girolamo ; to the Copper Mines at Monte-
catini; to Colle di Val d'Elsa, 13.

3. Elba and the Tuscan Islands 13

4. From Florence to Siena -via Empoli 15

From Poggibonsi to Colle di Val d'Elsa, 16. — San Gimig-
nano, 16.

6. Siena 19

Excursions from Siena: Osservanza, Santa Colomba, etc. 37.

6. From Siena to Chiusi 39

From Asciano to Monte Oli veto Maggiore, 39. — FromAsciano
to Grosseto, 40. — Monte Amiata, 41. — From Monte-
pulciano to Pienza, 43.

7. From Florence to Perugia via Arezzo, Cortona, and

Terontola (Chiwi-Rome) 44

From Arezzo to Monte Sansavino, Fojano, and Betolle, 49, 50.

8. From Arezzo to Fossato di Vico. Sansepolcro. Citta, di

Castello. Gubbio 54

9. Perugia 59

From Perugia to Gubbio and Todi, 69.

10. From Perugia to Foligno and Orte (Rome). Assisi.

Spoleto. Waterfalls of Terni. Narni 70

From Foligno to Bevagna and Montefalco, 77. — Monte
Luco,81. — From Spoleto toNorcia and AscoliPioeno, 82.

11. From Florence to Rome via (Arezzo) Terontola and

Chiusi. Orvieto. Bolsena 86

From Chiusi to Sarteano and to Cetona, 88. — Monte San
Pancrazio, 94. — From Borghetto to Civita Castellana, 95.

— Falerii. Soracte. Nepi, 96.

12. From Attigliano to Viterbo and Rome 97

Excursions from Viterbo : Quercia, Bagnaia, Ferento, Buli-
came, Castel d'Asso, Toscanella, Lago di Vico, 100, 101. —
Norchia. Sutri. Caprarola, 102.

13. From Bologna to Rimini, Falconara (Rome), and Ancona 105

From Rimini to San Marino, and to San Leo, 112. — From
Pesaro to TJrbino, 115. — From Fano to Fossato via F03-
sombrone and Furlo Pass, 117.

14. Ancona and its Environs. Osimo. Loreto 118

From Porto Civitanova to Albacina and Fabriano, 124.

15. From Ancona to Foligno (Orte, Rome) 125

16. From Fabriano to Urbino 127

Basd 1

2 Route 1. CASCIA.NA.

The Region between the Tyrrhenian Sea and the Tiber is a hilly
district differing considerably in its formation from the Apennines. The
latter consist of long and regular chains with parallel valleys between
them, while the former is composed of numerous isolated groups of moun-
tains and bills, which at one time, before a fin 1 upheaval of the Apen-
nines converted the whole district into dry land, formed a group of islands
like the Tuscan Archipelago off the present coast. The chnracteri-tic feat-
ures of its N. portion are the valleys of Chiana, Elsa, and Era, which stretch
from N.W. to S.E., while the S. portion is marked by the mighty volcanoes
that dominate the entire district to the W. of the lower course of the Tiber.
These volcanoes, beginning with Monte Amiata on the N\, form a continuous
chain, characterized by numerous large lakes, ant prolonged on the other
side of the Tiber by the Alban Mountains. — Southern Tuscany offers con-
siderable variety of scenery, with its isolated limestone mountains abound-
ing in minerals, and its eruptive cones rising from the midst of gentle
slopes of marl and clay. As a whole it is a very fertile district, though
the presence of gypsum makes the neighbourhood of Volterra and some
other points unproductive. The Montagnola Senese (p. 18) and other isolated
limestone ridges, are covered with forests of beech; elsewhere the chief
products are grain, wine, oil, and (near the sea) hay. The green' land
of Umbria abounris' in trees, though these are generally too scattered to
form woods or forests proper. — The so-called Marches (p. 105), or frontier
districts of the Apennines are naturally more rug»ed, being seamed with
deep and narrow lateral ravines , as well as with broader and more
fertile longitudinal valleys. Many of the latter, now filled with debris,
were formerly lakes or morasses On the E. side extends a very productive
hiliy district which, from Ancona southwards, abuts directly on the
Adriatic Sea and is intersected by numerous small rivers. The chief
artery on the W. side is the Tiber, which rises in the Bolognese Apennines
(see p. 55) and flows to the S. through valleys connected by short trans-
verse valleys. On one side it receives the streams descending from the
Apennines, while its tributaries on the other flow through districts of clay
and tufa Its bed is thus largely filled with debris its water turbid; and
in times of flood huge nr sses of alluvium are washed down to the sea.
Where its tributary streams run through the softer kinds of rock they have
worn sharply-cut channels, and wherever two river-valleys meet have
formed triangular and bastion-like promontaries (S. Etruria).

1. From Leghorn or Pisa to Rome

by the Maremme.

207 M. (from Pisa 20678 M.). Railway. Express in 6-7>/2hrs., fares 42 fr.
65, 29 fr. 85 c. (from Pisa 42 fr. 50, 29 fr.75c.) ; ordinary trains in ca. 10 hrs.,
fares 38 fr. 75, 27 fr. 15, 17 fr. 45 c. (or 38 fr. 65, 27 fr. 5, 17 fr. 40 c). On
Sat. there is a train de luxe with higher fares. — During the tourist-season
restaurant-cars are attached to the express trains (dej. 3V2, D. 47z fr.,
wine extra).

The Maremme Railway coincides with the ancient Via Aurelia. It runs
inland as far as Cecina, where it approaches the coast, commanding fine
views of the sea with its promontories and islands. Best views on the
right. Many places on this route are subject to malaria between the end of
May and the end of October (comp. p. 3).

Leghorn and Pisa, see Baedeker's Northern Italy. — The lines
unite shortly before reaching Colle Salvetti, which is 10 M. distant
from Leghorn and 9^2 M. from Pisa. 13 M. (from Pisa") Fauglia.

About 71/* M. to the E. (carriage^ in l'/2 hr.) lies Casciana (462 ft.;
Stabiliinento : ."."__"_" " " ' pone, pens. 6-7 fr.), a

PIOMBINO. 1. Route. 3

bathing-resort with chalybeate and sulphur springs (97° Fahr.) and 1177 in-
habitants. Omnibus from Pontedera, on the Florence and Pisa railway,
twice daily in 2 hrs., fare 1 fr.$ from Leghorn in summer on Wed. and
Sat. in 3V2-4 hrs.

17 M. Orciano; 22y2 M. Santa Luce; 24 M. Ros:gnano, the
village of which name is situated on a hill (482 ft.) to the right;
28 M. Vada. The train crosses the Cecina, the ancient Caecina.

3IV2 M. Cecina (pop. 5120; poor cafe at the station), where a
branch-line to Volterra diverges (see p. 9), is of modern origin.

35Y2 M. Biblona-Casale. The line now approaches the coast.
The loftily-situated, ancient Etruscan Populonia (see below) becomes
visible to the right, on a chain of hills projecting into the sea ; beyond
it, the island of Elba (p. 13).

42 M. Castagneto; 47 M. San Vincenzo, with a small harbour.

53'/2 M. Campiglia Marittima ; the town (5259 inhab.) lies on
the height (905 ft.), with a ruined castle and Etruscan tombs of no
great interest.

Fkom Campiglia to Piombino, 8V2 M., railway in 36-46 min. (fares 1 fr.
65, 1 fr. 15, 75 c), via (3 M.) Poggio and (8 M.) Portovecchio.

Piombino (Albergo delle Apt, unpretending, bargaining advisable ; Lloyd's
agents, A. BelUUieri & Co.), a town with 5979 inhab., originally belonged to
Pisa, in 1399 became a principality of the Appiani, in 1603 was acquired by
Spain, and then by the family of Buoncompagni-Ludovisi, from whom it was
wrested by Napoleon in 1805 in favour of his brother-in-law, the Corsican
Felix Bacciocchi. In 1815 it was assigned to Tuscany. It lies at the S. end
of a wooded promontory, formerly an island but now joined to the main-
land owing to the silting up of the river Cornia. A weather-beaten
tower on the harbour commands a grand view of the sea and the island
of Elba (in front of which rise the cliffs of Cerboli and Palmaiola), of
Giglio and the coast, and Corsica in the distance. — Steamboat to Elba
every afternoon, returning the following morning (p. 13).

A forenoon suffices for a visit to (6 M.) Populonia, the ancient Etruscan
seaport of Pupluna, at the N. end of the peninsula. The shorter route through
the woods requires a guide. The town with its mediaeval castle, situated
on a lofty and precipitous hill, is conspicuous from all sides. It suffered
greatly from a siege by Sulla; in the time of Strabo it had fallen to decay,
and it is now a poor village. In ancient times the iron of Elba was smelted
here, together with the tin and copper ores of the neighbouring district
which formed the material basis of the Etruscan art of bronze - founding.
The old town-walls, which may still be distinctly traced, are particularly well
preserved on the side next the sea'; they consist of huge blocks, approaching
the polygonal style. The views towards the land and the sea are striking
and extensive. A few arches, erroneously said to belong to an amphitheatre,
and a reservoir are of Eoman origin. The Etruscan tombs in the vicinity
are hardly worthy of a visit.

The district now begins to exhibit the distinguishing charac-
teristics of the Maremme: a world of its own, consisting of forest
and swamp, in summer poisoned by malaria. During the Etruscan
period the Maremme possessed considerable towns : Populonia (see
below), Vetulonia (p. 4) , Rusellae (p. 4) , Cosa (p. 5). On the de-
cline of agriculture in Italy and the conversion of the farms into
pasture-land, the desolation of the coast-district made rapid pro-
gress. It was not until the 19th century that the first successful
attempts to ennntfiTant the malaria, were made by draining and

4 Route 1. GROSSETO. From Leghorn or

filling Tip the swamps and establishing new farms (especially near the
railway-stations) ; but the evil is still very great.

64 M. Follonica, on the sea, possesses considerable smelting-
foundries for the iron from Elba. Beautiful view to the right of
the promontory of Piombino and Elba, to the left of the promontory
of Castiglione with a lighthouse, and the small, grotesquely shaped
island of Troiaccia.

A narrow-guage railway runs, in 1 hr. 10 min., via (5 M.) Cuva Nnova,
&lk M.) Valpiana, and (12'/2 M.) Schiantapetlo, to (16 M.) Massa Marittima
(1310 ft. ; Alb. del Sole, fair, E. l>/2 fr.), one of the largest towns of the
Maremme, with 9219 inhabitants. The Cathedral (San Cerbone), of the
13th cent., contains a font by Giroldo da Lugano (15162) and a reliquary
by Gregorio da Siena (1323). In the vicinity are extensive mines (copper
pyrites and argentiferous galena), with many German officials.

The train again quits the coast and skirts the Promontory of
Castiglione.

73 M. Oavorrano, the station for the place of the same name, situ-
ated on the hill (896 ft.), to the right. At (78 M.) Oiuncarico we
see, also on a hill to the right, Vetulonia (1130 ft.), the ancient
name (resumed since 1887) of the village of Colonna. It was from
Vetulonia (the Etruscan Veltuna) that the Romans took their mag-
isterial insignia: the fasces of the lictors, the curule chair, the
purple toga, and the brazen trumpets. Numerous graves have re-
cently been excavated here (see below). In the distance, at the
mouth of the Bruna, the small fortified harbour of Castiglione delta
Pescaia is visible. Here wood and charcoal are the chief exports.

821/2 M. Montepescali (728 ft.), junction of a branch-line to Siena
(see p. 41). The village is picturesquely situated on a hill to the left.

90^2 M. Grosseto (38 ft.; Rail. Restaurant, very fair; Stella
a" Italia, with a good trattoria; Qiappone, at the entrance of the town,
clean), the capital of the Maremme, a pleasant town with 5856 in-
habitants. The Cathedral, begun in 1294, was restored in 1855. The
Municipio contains a collection of Etruscan urns, a room with vases
and bronzes found in tombs at Vetulonia (see above), sarcophagi,
and other antiquities. Near the Badia is a prehistoric tomb. —
Branch-line to Asciano (Siena), see p. 40.

About 3l/t M. to the N.E. of Grosseto (carriage-road) lie the sulphur-
eous Bagni Rosellani, whence the ruins of Kusellae are reached in >/i hr.
(guide necessary). Rusellse , anciently one of the twelve capitals of the
Etruscan confederation, has been deserted since the middle of the 12th cent,
and is thickly overgrown with underwood. The walls , which are nearly
2 M. in circumference , and in most places accessible , consist partly of
horizontal courses, partly of polygonal blocks (6-8 ft. high, 6-12 ft. long).

Around Grosseto, and to the W., in the direction of Castiglione della
Pescaia, extends a considerable pasture-land, reclaimed from what was
once a malarial swamp, and, still earlier, the Lacus Prelius of Cicero.

Beyond Grosseto the Ombrone (the ancient Umbro~) is crossed.
95V2 M. Albarese. The line skirts the wooded Monti dell' Uccelina
(1360 ft.); towards the S. the imposing Monte Argentario (p. 5)
is visible.

Pisa to Rome. ORBETELLO. ;. Route. 5

105 M. Talamone. The village lies at the end of the promontory,
2 M. to the W., and possesses an anchorage sheltered by the island
of Giglio and the Monte Argentario (steamer to Elba, p. 13). The
ancient Telamon, where, in B.C. 225, the Roman legions landed
and defeated the Gauls, who were marching against Rome, lay 1 M.
to the S. of the railway-station, on a hill (Torre di Talmonaccio;
344 ft.) at the mouth of the little river Osa.

The train crosses the Osa, then the more important Albegna (the
ancient Albinid), at the mouth of which are salt-works. 109 M.
Albegna.

A carriage-road (diligence once daily to Manciano in 5 hrs., to Piti-
gliano in 7 hrs.; fares 4 and 5 fr.) runs to ihe N.E. from Albegna via
(8 M.) Marsilicma (394 ft.), ihe finely situated (20 M.) Manciano (14o3 ft.),
and (34 M.) Pitigliano (1027 ft.), to (37'/2 M.) Sovana (the ancient Suana).
From Manciano a carriage-road runs to the N. via Monternerano to (8 M.)
Salurnia (868 ft.), a fortified village on a precipitous height, whose site
and name have remained unchanged from Etruscan times, while traces of
its old walls and tombs are still visible.

114 M. Orbetello [Albergo Rosa, Albergo Nazionale, both un-
pretending, 2 M. from the station ; omn. 1 fr. ; *Rail. Restaurant,
dej. 2, D. 3-5 fr., inch wine), a maritime fortress, with 4188 inhab.,
is situated at the extremity of a promontory, near the foot of Monte
Argentario (see below), which rises immediately from the sea. The
latter is connected with the mainland by two narrow tongues of land
(Tomboli), whereby a large salt-water lagoon is formed, from the
midst of which the town rises. The lagoon, which abounds in fish,
nowhere exceeds 5 ft. in depth. The only object of interest is the
polygonal wall on the sides next the sea, which testifies to the great
antiquity of the town, although its ancient name is unknown.

The Monte Argentario, with its two peaks, an isolated outlier of the
mountain-system of Central Tuscany, was once an island. From Orbetello
a carriage-road runs along the embankment across the lagoon, then turns
to the N. to Porto Santo Stefano (steamboat to Elba, see p. 13 ; Lloyd's agent,
P. Bavaetro), and to PorV Ercole (the ancient Portus Herculis) on the S. side.
The ascent of the S. peak (Telegrafo; 2073 ft.) is very interesting (from
Orbetello, 2-3 hrs. ; guide). The view embraces the coast of Tuscany and
the Roman highlands to the N.E. as far as Monte Amiata, and (on the W.)
the sea with its numerous rocky islands as far as Sardinia. Halfway up
the height, 2 M. to the N., is a monastery of the Passionists (863 ft.). If
time is limited, the first and lower eminence, 3/4 nr- from Orbetello, with
a picturesque view of the coast, should be visited.

Orbetello is the most convenient starting-point for an excursion to the
(4>/2 M0 interesting ruins of the ancient Cosa (374 ft.; the present Ansedonia),
situated to the S.E. (carriage there and back, including stay of 5 hrs.,
8 fr.). Cosa was an old Etruscan town, deserted since the 5th century A.D.
The polygonal walls (1600 yds. in circumference) with their towers are
admirably preserved. A beautiful prospect is enjoyed hence.

The train soon enters the former Papal territory, and traverses
the Roman Maremma. 121 V2 M. Capalbio; 126 M. Chiarone. It then
crosses the Flora (ancient Arminid).

135Y2 M. Montalto di Castro.

About "71/2 M. above Montalto the Fiora i3 crossed by the ancient Ponte
delV Abbadia, and 1 M. to the S. of the latter, on the right bank, is the
site of VuJ.2?.. where t3b.O!?.?a.rid? of Ftru?cat> v?.ses have been discovered since

6 Route 1. CORNETO. From Leghorn or

1828. The ancient Etruscan city itself, the circumference of which is
ascertained to have been 5 M., has disappeared with the exception of its
tombs. — Toscanella (p. 101) lies about I0V2 M. to the E.

Beyond Montalto the country is undulating. We cross the small
rivers Arrone and Marta (p. 93).

144 M. Corneto. On a chalky plateau overlooking the Marta,
2 M. to the left of the station (seat in a carriage Y2 fr.), is the
antiquated town of —

Corneto (490 ft. ; Alb. $ Rut. Giudizi, Via dell' Indipendenza),
with numerous towers and a population of 5273. The town sprang
up in the early middle ages near the town of Tarquinii (destroyed
by the Saracens), to which fact it owes its official name of Corneto
Tarquinia.

Tarquinii was anciently one of the twelve Etruscan capitals,
and remarkable for the influence which it exercised on the devel-
opment of the national religion of Etruria. It participated in the
war of the Etruscan confederation against Rome, but was compelled
to surrender after the Samnite war and to receive a Roman colony,
which continued to flourish during the empire. Its ancient necro-
polis, discovered in 1823, is the chief object of interest at Corneto.

The handsome but unfinished Gothic Palazzo Vitelleschi, in the
main street, near the gate, was enlarged by Cardinal Vitelleschi in
1439. The old part is lighted by rich Gothic windows ; the more
modern colonnaded court has two stories, from the loggia 011 the
upper of which a fine view is obtained; remains of frescoes may be
seen in the chapel. The custodian shows the tombs (p. 7). —
On the N. buttress of the plateau on which the town stands is the
imposing Castello of Countess Matilda , containing the church of
Santa Maria in Castello, begun in 1121, with a facade dating from
1200, recently restored. This interesting church (key in the Museo,
see below) contains a tabernaculum of 1166 and a pulpit of 1209.

In the Cathedral are some interesting remains of frescoes by
Ant. da Viterbo, a pupil of Pinturicchio (1509). — The smaller
Romanesque churches of San? Anastasia, San Salvatore, San Mar-
tino, and San Pancrazio have all been more or less restored. Adjoin-
ing the last is the old Palazzo Municipale, with three of its original
eight towers. On a height above the town is the Gothic church
of San Francesco.

The lower story of the *Museo Municipale (adm. 1 fr.) con-
tains a number of sarcophagi, the most interesting of which is
the so-called 'Sarcofago del Magnate', embellished with poly-
chrome reliefs (battles of Amazons) and with handsome figures
on the lid. On the upper floor are smaller antiquities, vases, gold
ornaments, weapons, etc. Among these are an antique set of false
teeth (3rd room), and a fine bowl with red figures, which bears the
names of Oltos and Euxitheos as the artists and represents the
Arrival of Bacc" ' ^' * — "" "f +M deities recalling

Pisa to Rome. CUKNETO. 1. Route. 7"

the character of pre-Phidian art. The last rooms contain the pro-
ducts of the excavations carried on since 1881 in the oldest part of
the Necropolis. The pottery is of the rudest description and. was
evidently produced without the aid of a wheel. Four cinerary urns
in the form of huts give us an idea of the Italian dwelling of the
period. The conical helmets, with bars at the top, were evidently
imported; their type seems to have served as a model for the
'Apices', or caps of the Roman priests. Among the remaining con-
tents are Carthaginian scarabsei and idols in vitreous paste.

The Palazzo Bruschi contains a fine collection of Etruscan anti-
quities; and a few Etruscan and Roman relics are also preserved in
the Oiardino Bruschi, outside the town. — Corneto commands a
fine view of the sea with Monte Argentario (p. 5) and the neigh-
bouring islands, and also an interesting survey of the bleak environs.

On the Turchina, a stony hill opposite (N.E.), separated by a
ravine from Montarozzi, the hill of the tombs, lay Tabquinii, a town
with walls about 5 M. in circumference. Its last remains were
destroyed by the inhabitants of Corneto in 1307. No ruins are now
visible save scanty vestiges of walls and substructions.

The ^Necropolis spreads over a great part of the hill upon which
the town itself stands. The fee for a guide (see p. 6) should not
exceed 5 fr. Hurried visitors may take a carriage (one-horse 3-5,
two-horse 6-10 fr., according to time occupied). The most distant
tombs are 2 M. from the town. The tumuli which distinguished the
tombs externally have been entirely destroyed; the subterranean rock-
hewn chambers now alone remain. Even in ancient times the tombs
were frequently plundered for the sake of the precious trinkets they
contained, and modern excavations have despoiled them of every mov-
able object that remained. Nevertheless, owing to their arrangement
and the good preservation of their paintings, a visit to them is ex-
tremely interesting to those who desire to form an idea of the civili-
sation, art, and religion of the Etruscans. The decoration is in a
style that was prevalent chiefly in the towns of southern Etruria,
and indicates a close relationship to Hellenic art. — The following
(especially Nos. 7, 11, 14, and 19) are the most interesting tombs : —

No. 4. Grolta della Caccia del Cignale (boar-hunt), or Gratia Querciola.
The faded paintings, copied in the Museo Gregoriano (p. 364) , represent a
banquet with music and dancing, and a boar- hunt. — Opposite to this tomb —

No. 7. Grolta del Convito Funebre, or del Triclinio, also with the re-
presentation of a banquet. The admirable drawing bears witness to the in-
fluence of the best period of archaic Greek art. The men here, as in the
others, are coloured dark red, the women sketched in outline on the walls
in whitish colours.

No. 10. Grotta del Morto, small; mourning for the deceased, and dancers.

No. 11. Grotta del Tifone, more extensive, supported in the centre by a
pillar, on which are Typhons, or winged genii of death terminating in ser-
pents. The sarcophagi bear Latin as well as Etruscan inscriptions, a proof
that they belong to a comparatively recent epoch. To the right on the wall
are souls escorted by genii; below them is Charon with the hammer.

No. 12 Oratta deal; Scudi or delle Quattro Stanze, with banqueting scenes.

8 Route 1.

wriiA v iWjyniA.

No. 13. Qrotta del Cardinale, the most spacious tomb at Tarquinii,
supported by four pillars, opened in the 18th century ; colours almost entirely
faded.

No. 14. Qrotta delV Oreo, or del Poli/emo: in the anterior chamber,
a banquet; in the one beyond it, a scene from the infernal regions, with
Pluto, Proserpine, Geryon, Tiresias, Agamemnon, Memnon, and Theseus;
in a niche is Ulysses blinding Polyphemus. — The paintings here exhibit
unmistakable Greek influence.

No. 15. Grolta dei Vasi Dipinti, and No. 16. Qrotta del Vecchio, with
banquets and dances, both not later than the first half of the 5th cent. B. C.

Ko. 18. Qrotla delle Iscrizioni, so called from the numerous Etruscan in-
scriptions, with warlike trials of skill.

No. 19. Qrotta del Barone, so called from the Hanoverian ambassa-
dor Baron Kestner, by whom it was opened, contains warlike games, riders,
etc., partly in the archaic style ; colours well preserved.

No. 20. Grotla delle Bighe, discovered in 1827 by Baron Stackelberg.
A copy of the paintings (funereal games and dances) in the Vatican.

No. 23. Qrotta degli Auguri (with funereal games; a criminal with
veiled head fighting with a large mastiff, hounded on by a figure in a
mask), of the same date as Nos. 15 and 16.

Toscanella (p. 101 ; carriage 8 fr.) lies about 15'/2 M. to the N.E. of Corneto.

The train skirts the foot of the hill of Gorneto , which remains
visible for a long time. To the right , farther on , is the insigni-
ficant Porto Clementino, which is entirely abandoned in summer on
account of the malaria. This may be the ancient Oraviscae, the
seaport of Tarquinii. The horizon is bounded inland by rhe moun-
tains of Tolfa (see below). The line crosses the Mignone (the ancient
Minio).

1561/2 M. Civita Vecchia. —Hotels. Albebgo Termale TitAiANo,Viale
Garibaldi, on the sea, with baths, E. 3, B. V2, pens. 9 f r ., well spoken of;
Albebgo d'Italia, also on the sea. — Railway Restaurant, good. — British
Consular Agent, L. Sperandio ; American, James B Ingle; Lloyd's Agents,
A- Bellettieri Jc Co. — Steamer to Elba, see p. 13 ; to Qolfo Aranci in Sardinia
once daily, see Baedeker's Southern Italy.

Civita Vecchia, the seaport of Rome (sea-bathing), with 11,941
inhab., is the ancient Centum Cellae, whose harbour was planned
by Trajan. It was destroyed by the Saracens in 828, but in 854 the
inhabitants returned into the '■ancient city1. The fortifications, built
in the 16th and 17th cent., were restored in the 19th cent, by the
French. The entrance to the harbour (217 acres in extent), in front
of which lies a small fortified island with a lighthouse, is defended
by two towers.

A good road leads to the N.E. from Civita Vecchia past the (3 M.)
ruins of some ancient baths (Aquae Tauri), and by (8 M.) Allumiere, to
(10 M.) Tolfa (1820 ft. ; diligence once daily in 4 hrs., returning in 3 hrs.;
fare 2'/? fr.), the chief place among the volcanic mountains of the same
name (2010 ft.). Although extinct, they still emit vapours which deposit
sulphur and alum. The mines are no longer of great importance, but the
scenery is picturesque.

The line traverses a dreary tract, running parallel with the
ancient Via Aurelia near the sea-coast as far as Palo. On clear days
the Alban and Volscian Mts. are visible, and still farther off the
Monte Circeo (p. 447). The best views are on the right till Rome
is approached, and then on the left.

JPALO. 1. Route. 9

The train passes near Cafe Linaro, where the Torre Chiaruccia,
now a signal - station , indicates the site of the ancient Castrum
Novum. — 164 M. Santa Marinella, with a castle of the Odescalchi
(1561-80), on the site of the ancient Punicum. — 169l/2 M. Santa
Severn, a picturesque baronial castle, now the property of the Santo
Spirito Hospital at Rome (p. 317). Here in ancient times lay Pyrgi,
the harbour of Caere (p. 433). Important remains of the ancient
polygonal walls may still be seen ; the once celebrated temple of
Eileithyia was destroyed by Dionysius I. of Syracuse in B.C. 384.

171 M. Furbara. The solitary towers on the shore were erected in
the 16th cent., for protection against the dreaded Turkish corsairs.

177 M. Palo, with a chateau and villa of the Odescalchi, occu-
pies the site of the ancient Alsium (p. 433), where Pompey and
Antoninus Pius possessed country-residences. A short branch-line
runs hence to the frequented sea-baths of Ladispoli, founded by
Prince Odescalchi (fine beach ; special trains from Rome on Sun.
and Thurs.). — 181 1/2 M. Palidoro. %

The line now turns to the right, towards the groves of (185 V2 M0
Maccarese, the ancient Fregenae, on the Arrone, the Aroof the ancients
(p. 104). We then skirt the former Stagno di Maccarese, which is
now being reclaimed (Bontfiche di Maccarese, comp. p. 438).

193 M. Ponte Oalera, whence a branch-line diverges to Fiumicino
(p. 435). Near (197 M.) Magliana the Tiber becomes visible, and
the line follows its course (comp. Map, p. 380). A freer view is
now obtained of the extensive Campagna; to the right, in the back-
ground, the Alban Mts. (p. 407; comp. panorama, p. 378), and to
the left the Sabine Mts. ; in the foreground is San Paolo Fuori le Mura
(p. 397).

201 M. Roma San Paolo, outside the Porta Portese (change
Carriages for Trastevere, comp. p. 135). The train crosses the Tiber
and skirts the S.E. walls of Rome. To the left are seen the Monte
Testaccio, the Pyramid of Cestius, the Aventine, the Lateran with
the statues crowning its facade, and finally, just before the station
is entered, the so-called Temple of Minerva Medica. — 205 M.
Roma Tutcolana.

206^2 M. Rome. — Arrival, see p. 135.

2. From Leghorn to Volterra.

Railway via Cecilia to Volterra station, 50'/2 M., in 33/4 hrs. Express
to Cecina (no through-connection) 6 fr. 65, 4 fr. 65 c. ; ordinary trains 6 fr. 5,
4 fr. 25, 2 fr. 75 c; from Cecina to Volterra station 3 fr. 50, 2 fr. 45, 1 fr.
60 c. — Diligence from the station to Volterra (7 M.) in IV2 hrs. (fare
l'/2 fr. ; one-horse carr. 4, two-horse 6 fr.). Lnggage may be left at the
station at Cecina.

Volterra may also he reached from Pontedera, a station on the Flor-
ence and Pisa line, by driving up the vallev of the Era (5-6 hrs.). A private
diligence (fara 3 (r.~\ tierfnrms t.ha innrnev thrice weekly.

10 Route 2. VOLTERRA. From Leghorn

Leghorn, see Baedeker's Northern Italy. To (31 V2 M0 Cecina,
see p. 3. The branch-line ascends hence on the right bank of the
Cecina, traversing a district of great mineral wealth (copper, ala-
baster, and serpentine). — 5!/2 M. Biparbella; the village lies 2^2 M.
to the N.; 10 '/2 M. Casino di Terra; 14y2 M. Ponte Oinori.

19 M. Volterra. The station is situated at the foot of the lofty
hill on which the town lies. The extensive salt-works (Saline) in
the vicinity supply the whole of Tuscany. The rock-salt, resembling
that of the Wieliczka mines in Galicia, is found in lenticular form,
embedded in a tertiary deposit of marl.

The following excursion, which may be accomplished either by diligence
or carriage (carr. from Volterra station to Larderello and back 10, with
two horses 18 fr.), is interesting to geologists. Beyond Pomarance (1204 ft. ;
diligence in 2 hrs., fare IV2 fr.), a pleasant town, with a large chateau of
Count Larderello, we drive on to (3 hrs.) Larderello on the Monte Cerboli,
the central point of the boracic acid works belonging to the Larderello
family. The vapour of the volcanic gas-springs (soffioni) is passed through
water-tanks (lagoni), depositing its content of boric acid (acido borico)
in the water, w^ich is afterwards evaporated. The entire output of these
works is sent Co England, where it is chiefly used in potteries as an in-
gredient in the production of glaze. — The excursion may be extended
towards the S., via Bagno al Morbo (with springs, good for gout, used
perhaps by the Romans, and called by them Aquae Volaterranae), CasteU
nuovo di Val di Cecina (1860 ft. -, diligence from Pomarance in 21/2 hrs., fare
l'/2 fr.), Sasso, and Monterotondo, to Massa Marittima (p. 4), a drive of
3 hrs. more. Near Sasso and Monterotondo in particular the country is
covered with clouds of steam and the hot surface of the earth with in-
crustations of sulphur, sulphate of iron, etc. Near Monterotondo is the
hot Lago Zol/oreo, with evaporation-works belonging to a French firm.

The road from the station to (5 M.J Volterra ascends (diligence
and carriage, see p. 10). The country, owing to the barren clay
soil, worn into channels by the rain, presents a peculiarly bleak
appearance.

Volterra. — Albergo Nazionale (PI. a), Piazza dei Ponti 1, R. lljv
2 fr., very fair. — Gaffe Bardola, Piazza Maggiore. — Post & Telegbaph
Office, in the Palazzo Pretorio (PI. 18).

The celebrated Alabaster Works of Volterra have lately lost in im-
portance. The ordinary kinds of alabaster are found in the vicinity, the
more valuable in the mines of Gastellina Marittima, on Monte Vitalba
(2210 ft.), 5]/2 M. from Riparbella (see above). The traveller should visit
the interesting workshops, where the prices are lower than at Florence
or Leghorn.

Volterra (1784 ft.), an episcopal residence with 5522 inhab.,
is one of the most ancient Etruscan cities, commanding in clear
weather charming prospects as far as the heights of Pisa, the Apen-
nines , and the sea with the islands of Gorgona , Elba , Capraia,
and Corsica.

Volterra (the Etruscan Telathri, the Tolaterrae cf the Romans) wa»
one of the twelve ancient confederate cities of Etruria, and was so strongly
fortified that during the civil wars it withstood a siege by Sulla's troops
for two years. It afterwards became a Roman municipium, but gradually
fell to decay and was totally destroyed in the 10th century. It was re-erected
under the Othos, but does not now cover one-third of its ancient area.
In the middle ages it was a free town, and from this period date the
best buildings; bu" ;*T- .„!.;<,.♦ ♦„ winrAnr.e in 1361. Tne last revolt

to Volterra 2. Route. 11

of the inhabitants against the Florentines terminated in 1472, when the
town was taken and ruthlessly pillaged. It is the birthplace of the sat-
irist Persius (d4-62 A.D.) and of the painter Daniele da Volterra (see below).

Among the antiquities the ancient *Town "Walls, 7960 yds.
or about il/2 M. in circumference, and nearly three times as ex-
tensive as those of Fiesole and Cortona, are especially worthy of
notice. Their dimensions (40 ft. in height, 13 ft. in thickness)
and construction in horizontal courses of rectangular limestone blocks
('panchina') are best inspected on the S.W. side of the present town
(near Santa Chiara, outside the Porta San Francesco, to the left),
and outside the Porta Fiorentina (N.). One of the ancient gateways,
the *PosrA all'Arco, 20 ft. in height, is also still in existence.
The corbels are adorned with unrecognizable heads. II Portone,
another ancient gateway, outside the Porta Fiorentina, has been
much altered. Outside the same gate, below the burying-ground, is
situated the ancient Necropolis, about halfway up the hill, at the place
now called San Marmi. AH the tombs have been closed up again.

The Palazzo dei Pb.iob.1 (PI. 19), now the Municipio, in the Piazza
Maggiore, a handsome edifice, was begun in 1208 and completed in
1257 ; the exterior is adorned with mediaeval coats-of-arms. The
first floor contains a collection of pictures, among which are : Luea
Signorelli, Madonna with six saints and two angels, 1491 (much
injured); Dom. Ohirlandajo, SS. Actinea and Graeciana.

Adjoining, to the right, is the entrance to the *Cathedhal
(PI. 8), consecrated in 1120 by Pope Calixtus II., and said to have
been enlarged in 1254 by Niceolb Pisano.

Inteeiok. To the right and left of the entrance are reliefs from the
life of SS. Begulns and Octavianus (14th cent.) ; the pulpit is adorned with
sculptures of the early 13th century. The two angels with candelabra
on the high-altar are by Mino da Fiesole. The sarcophagus of St. Octavianus
is by Raffaele Cioli (1522); the elaborate roof by Fr. Capriani (1570). —
In the S. transept is a fine wooden group (13th cent.) of the Descent from
the Cross. The chapel of San Carlo, opposite, contains on the left an
'Annunciation by Signorelli (1491), of rich colouring and attractive grace ;
on the right, Benvenuto di Giovanni, Nativity (1470), and Rosso Fiorentino,
Descent from the Cross (unfinished); Taddeo di Bartolo, Altar-piece (1411) ;
Leonardo da Pistoja, Madonna, with four saints (1516).

Opposite to the cathedral rises the baptistery of San Giovanni
(PI. 6), an octagonal church, erected in the 13th cent., supposed to
occupy the site of an ancient temple of the sun. The fine arch of the
high-altar is by Balsinelli da Settignano (16th cent.), the octagonal
font by Andrea Sansovino (1502) , and the ciborium by Mino da
Fiesole (1471).

San Lino (PI. 13), a church founded in 1480 by Raffaele Maffei,
contains the tomb of that scholar, with a recumbent statue by Silvio
da Fiesole (1522).

In the Via Ricciarelli is the house in which Daniele da Volterra,
the celebrated pupil of Michael Angelo, was born in 1509 (he died
at Rome in 1566). The house still belongs to the family of Eicoiarelli,
who possess a fine Elias, by the artist.

12 Route 2.

San Fbancesco (PI. 10) contains the Gothic Cappella della Croce
of 1315, with frescoes from the life of the Saviour and the legend of
the Cross by Cennino Cennini (1410).

The most interesting object in Volterra is the *Museo Guabnacci
(PI. 20), in the Palazzo Tagassi, containing a valuable collection of
inscriptions, coins, bronzes, statues, and vases. Director, Dr. Ezio
Solaini. Admission 9 to 3, 4, or 5, 1 fr. Free cards of admission,
entitling to a half-hour visit, are issued on Sun., 9-1, attheUiflzio
di Polizia Municipale, in the Municipio (p. 11).

The museum, established in 1731, and greatly enriched by the collections
of the erudite Mario Guarnacci in 1781, was in 1878 admirably arranged
by Cavaliere iV. Maffei. Seven rooms on the lower floor and as many on
the upper are occupied by the collection of Cinerary Urns (upwards of
600). These are generally about 3 ft. in length, and date from the latest
period of Etruscan art, «'. «. the 3rd or 2nd cent. B.C. The subjects are
more interesting than the execution, which is for the most part very
mediocre. A few of the urns are made of terracotta and sandstone , but
most of them are of the alabaster of the environs. On the lid is the greatly
reduced recumbent effigy of the deceased ; the sides are adorned with
reliefs , and some of them bear traces of painting and gilding. The re-
presentations on the urns are partly derived from the peculiar sphere of
Etruscan life, partly from Greek mythology. From the former, parting
scenes are the most frequent; the deceased, equipped as a rider, is escorted
by a messenger who bears a long sack containing provisions for the jour-
ney or is accompanied by Charon with the hammer. Sacrifices and funeral
processions occur frequently, as well as banquets , races, contests of skill,
etc. Greek mythology has supplied an abundant selection of subjects, e.g.
Ulysses with the Sirens and with Circe, the abduction of Helen, death of
Clytemnestra, Orestes and the Furies, the Seven against Thebes (the gate a
copy of the Porta all' Arco, p. 11), Polynices and Eteocles, OEdipus and
the Sphinx , (Edipus slaying his father. There is a singular blending of
luxuriance and melancholy in the subjects and treatment of these works,
and the same peculiarity is often observed in the subsequent development
of Etruscan art. — Five other rooms contain marble sculptures (archaic
relief in tufa of a warrior), vases (mostly of a later style), coins, bronzes,
utensils, gold ornaments, and fine glass vessels. — In the third story are
the Archives and the Library, containing 20,000 vols., and a collection of
coins and seals. On the staircase are a frieze in relief from San Giusto
(see below) and other mediaeval sculptures.

The Citadel (Fortezza), now a house of correction, and shown
only by permission of the Sotto-Prefetto, consists of two parts, the
Bocca Antica, erected on the ancient town- walls in 1343 by Walter
de Brienne, Duke of Athens, and the Bocca Nuova, built by the
Florentines after the capture of the town (see p. 11). At the same
time the latter constructed the tower II Mastio, which was used as a
prison for political offenders. Not far off, to the W., is the Piscina,
an ancient reservoir, with a vaulted roof supported by six pillars.

Outside the Porta San Francesco is the ruined Romanesque church of
Santo Stefano, near which, in what used to be called the Prato Marzio, are a
fountain and a Roman portrait-statue. — Farther from the town, between
the churches of San Giusto (18th cent.) and La Badia(1030; spoiled), lies
a deep ravine called Le Baize, which was comparatively recently formed
by erosion and continues to widen. The old church of San Giusto was
swallowed up by it in the 17th cent., and the celebrated Camaldulensian
abbey of San Salvatore, founded in the 11th cent., is threatened with the
same fate.

3. Route. 13

About 1/2 M. to the N.E. of the Porta a Selci is the convent of San
Oirolamo , the vestibule-chapels of which contain terracotta altar-pieces
from the studio of the Robbia't, one representing St. Francis with SS. Clara
and Louis, another the Last Judgment (1501). In the church is an Annun-
ciation by Benvenuto di Giovanni (1466). — Farther on are the Villa Inghirami
and an Etruscan Tomb, in which the burial-urns are still in situ (the gar-
dener supplies a light, '/j **•)■

A pleasant excursion may be made to the copper -mines (miniere di
rame) of Caporciano, to the W. of Montecatini di Vol di Cecina, 10 M. to
the W. of Volterra (diligence in 2hrs., fare IY2 fr. ; returning in l^hr,,
1 fr. ; one-horse carr. 6, two-horse 10 fr.). The carriage-road leads across
the hill of La Bacchettona to Montecatini, on the summit of the Selagite,
a mountain of volcanic origin. The square tower of the old castle commands
an extensive prospect. The mines have been worked since the 15th cent.,
and the operations were successful till within recent years. The present
proprietor is Count Buturlin. The mineral is found in pockets or clusters,
between serpentine, known here as gabbro verde, and ragged masses of
gabbro rosso, or red trachyte. A number of peaks, such as Monte delV Abete,
Poggio Croce, and Monte Massi, which were upheaved during the tertiary
period through the surrounding sandstone and limestone, consist of gabbro
rosso. The view from Monte Massi (2030 ft.) or from Poggio Croce
(1942 ft. ; l/i hr. from Montecatini) extends from the heights near Massa and
Carrara towards the N. to Monte Amiata on the S., and embraces the sea
with the islands of Elba, Capraia, and Corsica.

Fkom Voltekka to Colle di Val d'Elsa, 15V2 M., diligence once daily
in 3Va hrs. (fare 3 fr. ; one-horse carr. 8, two-horse 14 fr.). The highroad
leads through an undulating district. To the left is seen San Gimignano
(p. 16), to which a good road (fine views) diverges after 71/2 M. (reaching
it after 11 M. more; pedestrians may take a short-cut, diverging 2Vz M.
farther on, via Rama and Ban Donate). To the right lies Pomarance (p. 10).
Colle di Val a" Elsa, see p. 16.

3. Elba and the Tuscan Islands.

A visit to Elba is strongly recommended to the lover of nature. From
Piombino (p. 3) steamers of the Navigazione Generate Italiana ply twice daily
in 11/2 hr. On Sun. morning, on the return -voyage, they call at Rio
Marina and Porto Longone. — From Leghohn (p. 3) a steamer of the same
company starts on Tues. morning; it touches at Gorgona, Capraia, and
Marciana , reaches Portoferraio (16 fr. 5 or 10 fr. 70 c. ; fee for embarking
or disembarking 50 c), and goes on next morning to Piombino (see above),
Rio Marino, Porto Longone, and Marina di Campo in Elba, Pianosa, Talamone,
and Porto Santo Stefano on the coast of Tuscany. On Thurs. night it goes on
to Civita Vecchia (p. 8). On the return to Leghorn it leaves Civita Veichia
at noon on Thurs., Porto Santo Stefano on Frid. night, and Portoferraio on
Sat. morning. Another steamer, starting on Frid. morning, follows the
same route to Pianosa and lies to for the night in Porto Longone; it returns
from Pianosa on Sat., from Portoferraio on Mon. morning.

About 4 M. to the W- of Leghorn rises the cliff of Meloria, where
the Pisans were bo signally defeated by the Genoese in 1284 that
they never regained their former supremacy. Farther to the "W.
(21 Y2 M. from Leghorn) is Gorgona (836 ft.), a sterile island, in-
habited by fishermen. Between the latter and Elba lies (40 M.)
Capraia (1466 ft. ; 12 sq. M. in area), called by the ancients Capraria,
'island of goats', with 560 inhab., where wine is produced.

Elba, a rocky island with steep cliffs and 25,043 inhab., is about
19 M. long, 6V2 M- broad, and 140 sq. M. in area. It lies 5y2 M»

14 Route 3.

■KLLiiiA.

to the S.W. of Piombino (p. 3), beyond the islets of Talmaiola and
Cerboli. Like Giglio and Monte Cristo (p. 15), it forms part of a
sunken mountain range that stretches from Tuscany towards Corsica
and Sardinia, and is mostly of granite formation, supporting strata
of schist and limestone. The iron ores (iron-glance) which are
found embedded in the limestone both in pockets and in layers,
though of earlier origin, are probably also Tuscan. The mining and
export of iron has from time immemorial formed the principal occu-
pation of most of the islanders, others being supported by the tunny
and sardine fisheries. In 1898 ore to the amount of 183,652 tons
was extracted , of a value of 106,500 I. (for the whole of Italy the
amount was 190,110 tons, value 109,8002.). The highest point of
the island is Monte Capanne (3340 ft.), on the "W., an imposing mass
of granite with a superficial covering of slate at the base, and
containing veins of porphyry and rare minerals. The slopes facing
the mainland produce admirable wine and fruit, especially near
Capoliveri, at the foot of Monte Calamita (1355 ft.).

Elba, Lat. Ilva, Greek, Aethalia ('soot island), was subject to the Pisans
after the 10th cent., then to Genoa (1290), to Lucca, and to the Appiani
of Piombino , and was finally presented by the Emp. Charles V. to Duke
Cosimo I. of Florence. On the deposition of Napoleon I. the island was
ceded to him with full sovereign rights, and he resided there from May 5th,
1814, to Feb. 26th, 1815 (see below). The Congress of Vienna and the second
Treaty of Paris restored Elba to Tuscany, along with which it was
annexed by Piedmont in 1860.

The steamer from Piombino rounds the Capo della Vite and enters
the beautiful bay of Portoferraio (Albergo L'Ape Elbana, fair; Brit,
vice-consul, G. Tonietti; Lloyd's agent, G. Darmanin), the capital of
the island (5970 inhab.), which is enclosed by an amphitheatre of
mountains. Halfway up the hill, above the harbour, in a garden
between the Forts Stella and Falcone, which were erected by Cosimo I.
in 1548, stands the former Palace of Napoleon, commanding a
view of the bay in front and of the sea in the direction of Piombino
at the back. Below, on the haTbour, is the prison for galley-convicts
(Bagno penale). About 4 M. to the S.W. of Portoferraio, on the
slope of Monte San Martino (1214 ft.), is the Villa Napoleone, which
was used as a residence by the Emperor, and is now carefully kept
in repair by its present proprietor, Signor Pilade de Buono (the
Egyptian hall should be noticed). The contents of the museum built
by Prince Demidoff opposite the villa have been sold ; the building
now contains a natural history collection. There is a third house of
the Emperor, still less pretending, near the chapel of the Madonna
del Monte (2056 ft.), on the N. slope of Monte Capanne (see above).

An excursion to the iron-mines (}fo day) is best made from Portoferraio
by taking a boat to Magazzini , and walking or riding thence (horse there
and back 3 fr.) past the ruined fortress of Volterraio (above, on the right),
then over the Mil to Bio dell Elba and on to Rio Marina (inn; Lloyd's agent,
J. Papucci), where a guide to the mines (scarcely necessary) may be ob-
tained. The ferriferous strata lie on the surlace, and are recognised at a
distance by the reddish-black appearance of the hills. The Torre del Giove
(1155 ft. ; view) rises 2 M. to the N. of Bio Marina. About 5'/2 m. to the

EMFOEI. d. Route. 15

S. of Rio dell' Elba, in a deep bay, lies tbe picturesque stronghold of
Porte Longone, founded by the Spaniards.

About 7Vs M. to the S.W. of Elba lies the island of Pianos a (6 M.
in area), the ancient Planaiia, which, as its name indicates, is perfectly
flat. To this island Agrippa Postumus, grandson of Augustus, was once,
banished, and to him are referred the considerable Roman remains which
still exist here. — Farther to the S. (25 M. from Elba) rises Monte Cristo
(2126 ft. ; 6 M. in area; the ancient Oglasa), consisting like Elba and Giglio,
of granite rock. Victor Emmanuel III. has a shooting-lodge here, and the islet
also contains the ruins of a Camaldulensian monastery founded in the 13th
and destroyed by pirates in tbe 16th certury. The name of the island has
acquired world-wide fame owing to the novel 'Le Comte de Monte Chiisto'
by the elder Dumas (1844-45). — About 9 M. to the W. of the Monte
Argentario (p. 5) is Giglio, Lat. Igilium (1634 ft.), a considerable island
(2350 inhab.) containing granite-quarries and vineyards. Near tbe harbour,
Porto, are vestiges of a Roman palace. A steamer plies every morning, except
Sun., from Porto Santo Stefano (p. 5) to Giglio, returning in the afternoon.

4. From Florence to Siena via Empoli.

59 M. Railway in 3-33/4 hrs. (fares 11 fr. 5, 7 fr. 75, 5 fr.). No quick
trains; through-carriages by some trains. — From Florence to Siena by
Road, 43 M., a delightful drive of 9-10 hrs. (carr. and pair 60-70 fr.), via
San Casciano in Val di Pesa and (26 M.) Poggibonsi (p. 16).

Florence, see Baedeker's Northern Italy. — 6 M. San Donnino;
the valley of the Arno expands. 7 M. Signa, with its grey pinnacles
and towers , is famed for its straw-.plaiting. The line crosses the
Ombrone and enters the defile of the Oonfolina, between the middle
and the lower valley of the Arno. We cross the Arno, 16 M. Monte-
lupo. Farther on we cross the small river Pesa.

20 M. Empoli {Alb. del Sole; Rail. Restaurant, poor), a town
with 20,300 inhab., with antiquated buildings and narrow streets,
situated in a fertile district. Halt of 6-25 min. ; passengers for Siena
have often to change carriages. The main line pursues a W. di-
rection towards Pisa and Leghorn ; see Baedeker s Northern Italy.

The line to Siena ascends the fertile valley of the Elsa, on the
right bank of the stream. To the right, on the hill, San Miniato al
Tedescho, once an imperial palace of Frederick Barbarossa. 221/2M.
Ponte a Elsa ; 26 M. Granaiolo. 30 M. Castel Fiorentino ; the town, on
the slope (354 ft.) to the left, is the principal place in the Val d'Elsa.

35 M. Certaldo (426 ft. ; Albergo della Stazione, Via Umberto
Primo, near the station, R. 1, de'j. 1% D. 2fr.), with 4522 inhab.,
lies on the hill to the left. It was the family-home of Giovanni
Boccaccio, who was born at Paris in 1313, and died here in 1375. A
statue of him, by Passaglia, was erected in the principal square in 1875.
His tomb in the church of Santi Michele e Jacopo, erected in 1503,
was removed in 1783, and its remains may now be seen in the Casa
di Boccaccio, close by, which was restored in 1823 by the Marchess
•Carlotta Lenzoni-Medici, and furnished with old household-effects.
The tower commands a pretty view. The Palazzo Pretorio, which is
adorned with coats-of-arms and contains some defaced frescoes, is
now a 'national monument'.

16 Route 4. oa« minimi ivn vs. ±.,^,,t Florence

A carriage-road leads from Certaldo to (7 M.) San Gimignano (see below;
one-horse carr., 1 pers. 3, 2-3 pers. 4, there and back with 5 hrs. stay
5 or 6 fr. ; two-horse 8 or 12 fr.).

As the train proceeds, San Gimignano is visible for a short time
on the right.

43 M. Poggibonsi (Aquila, opposite the station, very fair); the
town (7866 inhab.) lies to the right. On the hill 1 M. to the S. rise
the old Fortress and the monastery of San Lucchese. In the church
of the fortress is an altar-piece (Noli me tangere) and in the former
refectory are frescoes by Oerino da Pistoja.

From Poggibonsi to Colle di Val d'Elsa, 5 M., railway in 18 min.
(75, 45 c). — Colle di Val d'Elsa {Alb. del Buon Soggiorno , tolerable) is
an old town (5862 inhab.) and the seat of a bishop. In the lower town
(Colle Bafso) there are iron and glass works. The upper tnwn (Colle
Alto) contains some old palaces, including the Palazzo Ceccerelli, by Ant.
da Sangallo the Younger (16th cent), the house of Arnolfo di Cambio (1232-
1301), the first architect of the cathedral at Florence, and the Cathedral. The
last, dating from the 13th cent. , with a facade modernised in bad taste,
contains a marble pulpit (of which the lower part belongs to the 13ih cent.,
and the upper part, with reliefs of saints , to the 16th), and carved choir-
stalls of the 17th century. — From Colle di Val d'Elsa to Volterra, seep. 13.

Feom Poggibonsi to San Gimignano, 7>/2 M. Carriages may be hired
at the station (1 pers. 2, 2 pers. 3 fr.), with allowance for stay in San Gimig-
nano according to bargain, An omnibus plies twice daily (in 2 hrs., return-
ing in IV2 hr.), starting at 8.45 a.m. and 7.30 p.m., and returning at 6.30 a.m.
and 5.45 p.m. (fare 1 fr.). — It is possible to drive on the same day to
Volterra (3V2 hrs. ; comp. p. 13 ; fare from Poggibonsi ca. 30 fr.).

San Gimignano (1089 ft. ; Albergo Centrale, Piazza Cavour 12,
pens. 4-6 fr., well spoken of; Albergo Leon Bianco, Via San Mat-
teo 30, near the gate, E. from ll/it pens. 4^ fr., good cuisine), an
ancient and loftily situated town, with 4060 inhab., was a prosper-
ous and independent place in the 13th and 14th cent., but in 1353,
after having suffered terribly in consequence of the dissensions of
the leading families of the Salvucci (Ghibellines) and Ardinghelli
(Guelphs), it became subject to Florence. Its walls, its towers
(whence the name 'San Gimignano delle belle torri'), and its streets
all cany us back to the middle ages. Perhaps no other town in
Tuscany presents so faithful a picture of Dante's time.

In the centre of the town is the Piazza Vittoeio Emanuelb,
with several important buildings.

The Gothic *Palazzo Comunalb was erected in 1288-1323.

The Sala del Consiglio , on the second floor, contains frescoes of
1291, also a Madonna with saints and angels, and the kneeling donor
Podesta Nello dei Tolomei (1317), and frescoes by Lippo Memmi of Siena,
restored and completed by Benozzo Gozzoli in 1467. It was in this hall on
Way 7th, 13U0 (not 1299), that Dante, as ambassador from Florence, requested

that representatives should he sent to an assembly of the Guelphs The

municipal Meseo, on the third floor, contains pictures from suppressed
monasteries in the neighbourhood, by Set. Mainardi, an assistant of Dona.
Ghirlandajo, Filippino Lippi (two round paintings with the Annunciation'
1483), Fra Paolino, Pinturicchio (? Madonna with two saints ; about 1504)'
Taddeo di Bartolo (architectural details from San Gimignano), and others- also
ancient choir-stalls. Fine view of the surrounding country. — To the left

to Siena. SA1V UM1UJNAN0. 4. Route. 17

of the exit into the court is the Cappella delle Carceei (now the Stanza
del Cassiere, divided by a modern wall), containing a scene from the
legend of St. Yvo (d. 13C3), and allegorical figures of Truth, Prudence,
and Falsehood, fine frescoes by Sodoma(i). There are traces of frescoes
in other rooms also.

The Torre del Comune (174 ft.) is the highest of the 13 existing
towers of the town. The largest of its three bells dates from 1328.

Adjacent is the cathedral, usually called *La Coliegiata, of
the 1'ith cent., enlarged after 1466 by Qiuliano da Majano. It con-
tains frescoes of the 14-15th centuries.

On the entrance-wall, Martyrdom of St. Sebastian, a fresco by Benozzo
Oozzoli, 1465; Annunciation, two wooden figures (14th cent.) by Martinus
Bartolomaei of Siena. Above the St. Sebastian and the adjoining arches
of the nave, the Last Judgment, Paradise, and the Inferno, by Taddeo di
Bartolo, 1393. — In the N. aisle, scenes from the Old Testament by Bartolo
di Fredi of Siena, 1356; in the S. aisle, Life of Christ by Barna da Siena,
1380. — *he visitor should particularly notice the last side-chapel to the
right, the 'Cappella di Santa Fina, which contains the bones of this
local saint, who died at the age of 15 years. The chapel was designed
by Qiuliano da Majano (1468), the altar by Benedetto da Majano. The
•Frescoes on the side-walls, representing the vision of the> saint and her
burial, painted by Bom. Qhirlandujo before 1475, are tlie earliest and
among the finest works of that master, and combine a fresh and lifelike
style with impressive gravity (restored in 1832). — In the centre of the
right wall of the Choir, Coronation of the Virgin, an altar-piece by Piero
del Pollajuolo of Florence, 1483; to the right of this, Madonna and four
saints, by Benozzo Oozzoli, 1466; on the left wall, "Madonna by Vine. Ta-
magni; adjacent, marquetry ('intarsia'') choir-stalls of 1490. — The Oratorio
San Giovanni contains an Annunciation by Bom. Ghirlandajo, 1482, and a
font of 1379. — In the Sacristy are a ciborium by Benedetto da Majano (a
smaller reproduction of that at San Domenico in Siena, p. 36) and an altar-
piece by Seb. Mainardi.

Opposite the cathedral is the Palazzo del Podesta, of the
13-14th cent., now a theatre (Teatro dei Leggieri), with an imposing
loggia. It is surmounted by the Torre dell' Orologio, which in-
dicates the height (167 ft.) beyond which private individuals were
prohibited from building.

The Via San Matteo descends from the Piazza, passing the two
towers of the Salvucci , to an ancient gateway , which marked the
limits of the town until the 13th century. Immediately to the right
in this street is the Biblioteca Comunale (librarian, Prof. Ugo Nomi-
Pesciolini), which contains 30,000 vols, and a small museum. Far-
ther on are San Bartolo (originally San Matteo), with a 13th cent,
facade, and the Palazzo Pesciolini. — In the Via Venti Settembre
(formerly Via Nuova), •which diverges to the right, are the church
of Santa Chiara on the left , and farther on , on the right , the
Hospital and the church of San Girolamo (behind the high-altar,
Madonna and saints by Vine. Tamagni, 1522, with a glory by a
later painter), and finally, to the left of the gateway, San Jacopo, a
former church of the Knights Templar, of the 12th cent., with
frescoes by a Sienese master of the 13th or 14th century. Just out-
side the gate we obtain a charming view of the town with its
numerous towers and of the surrounding country.

Baedeker 2

18 Route i.

OAll U±lTL±\JXl^Xi.l\^.

The Via delle Romite, diverging to the left from the Via Venti
Settembre near Santa Chiara, leads to the church of Sant' Agostino,
built in 1280-98 and containing famous *Frescoes by Benozzo Oozzoli
(1463-67), the pupil of Fra Angelico, which alone would repay a
visit to San Gimignano. The sagrestano lives in the adjacent 'Palazzo
della Vergine' (just below the Via Venti Settembre).

In those frescoes, which are in the Choib, Benozzo Qoztoli has por-
trayed the life of St. Augustine in 17 scenes, from his school-days to his
death. The finest of those pictures, which are neither of uniform excellence
nor in equally good preservation, are: St. Augustine as teacher of rhe-
toric 'in Rome (No. 6) ; Death of St. Monica (13) ; St. Augustine on the
bier (17). — The Cappella di San Guglielmo, to the right of the choir,
contains a Nativity and Death of the Virgin, by Barlolo di Fredi, in
which are several attractive touches of real Italian life. — To the left,
in the Cappella del Santissimo Sacramento , are interesting frescoes
by Vine. Tamagni. — On the N. side of the church, St. Geminianus and
three worshippers, a fresco by Seb. Mainardi; farther on, St. Sebastian,
the deliverer from the plague, the effects of which are symbolised by
flashes of lightning, by Benozzo Oozzoli, 1464, of less importance than the
frescoes in the choir. To the right of the principal entrance, in the
Cappella di San Bartolo: the beautiful altar of St. Bartoldus, one of the
chief works of Benedetto da Majano, with well-preserved colouring (1494);
also, frescoes by Seb. Mainardi, representing three saints (1500); majolica
flooring of the 15th century.

From Sant' Agostino we return to the market-place, which is
adjoined by the Piazza Cavoub (formerly Piazza della Cisterna),
with the Palazzo Friani, and the two low towers of the Ardinghelli.
The Via del Castello leads to the left to the former church of San
Lorenzo in Ponte, with a portico, now built up, of the 13th century.
— The terracotta ornamentation of the house-windows, many of
which are in the form of a horseshoe, should be observed.

From the Piazza Cavour the Via Giovanni descends to the right
to the Palazzo Pratellesi, in which the principal saloon of the upper
floor contains a Betrothal of St. Catharine with saints, a fresco by
Vine. Tamagni (1528). Farther on, in the street, is a figure of the
Madonna, by Mainardi.

The Bocca (1353), or the highest part of the old fortifications
(ascend to the right from La Collegiata), in a private garden, com-
mands a fine view of the town and neighbourhood.

About Vs M. to the S., outside the Porta San Giovanni, is the former
monastery of Monte Oliveto, with a Crucifixion by Benozzo Gozzoli (in the
cloister). — Beyond the Porta San Matteo (about 2 M. to the N.W.) is
the venerable church of Pieve di Cellori, or Cellole, consecrated in 1237,
containing remarkable capitals and curious ornamentation on the apse.
Fine view.

Beyond Poggibonsi the Railway begins to ascend considerably.
We now leave the late-tertiary or pliocene formations, and enter
the irregular fissured tract of Central Tuscany, with the wooded
limestone group of the Montagnola Senese (2200 ft.). This is honey-
combed with caves, and local earthquakes are often caused by the
washing away of parts of its interior. To the right, Staggia with a
mediaeval chateau. Near (6OV2 M.) Castellina in Chianti (7 M. to

Practical Notes.

memt.

5. Route. 19

the N.E. of the station), also to the right, is the picturesque chateau
jf Monte Riggioni (758 ft. ; 13th cent.); of the towers mentioned by
Dante (Inferno xxxi, 40) four only are still standing. The line
jrosses the watershed and, threading a tunnel 1 M. long, emerges
in the district of Upper Arbia.
59 M. Siena, see below.

5. Siena. +

Hotels. *Geand Hotel Continental (PI. b; C, 4), Via Cavour 15,
opposite the post-office, with electric light and baths, E. from 3'/2, B. IV2,
dej. 3Vs, D- inch wine 5, pens. 8-12, omn. 1 fr. (fine view from the
windows on the rear); Gkand Hotel Royal de Sienne (PI. a; C, 3), Via
Cavour 39, with its back to the Lizza (p. 36), with electric light and baths,
R. from 4, B. llfe, dej. 4, D. 5'/2, incl. wine, pens. 8-12, omn. without
luggage IV2 fr. ; Aqoila Neea (PI. c ; C, 5), Via Cavour 3, in the Italian
style, with restaurant, R. 2'/2-5, B. l'/4, pens. incl. wine 6-8, omn. »/4-l fr.,
very fair. — The following are good second-class houses, with trattorie :
La Scala (PI. d; C, 5), Piazza San Giovanni, opposite San Giovanni (p. 25),
R. 2 fr., very fair; La Toscana, Via del Re 4, R. I1/2-2, pens. 41/2 fr.-,
La Patkia, Via dei Termini 4, R. l'/2 fr. ; Tee Moki, Via Garibaldi and
Piazza Cairoli (PI. C, 3), R. 1-2 fr., clean.

Pensions (generally well spoken of and much patronised by English
visitors). Chiusarelli, Viale Curtatone 3, prettily situated, pens. 5-6 fr. ;
L. Gati, Via de' Servi 1, pens. 5 fr. ; Santa Caterina (Lucchetti), Via delle
Belle Arti 31, with 5 rooms only, pens. 5-6 fr., fine view; Romualdi, same
street No. 19, pens. 5 fr. ; Saccaro, Via Sallustio Bandini 19, pens. 6-6 fr. ;
Quinti- Rigoni, Via Lucherini 12, pens. 5-6 fr. ; Mariani. Via Cavour 12;
Mirolli, Via Cavour 58, 3rd floor, pens. 3'/2-4 fr., Gabrielli, Via Franciosa 56,
pens. 4 fr., both unpretending.

Restaurants. Eden (p. 37; also rooms), outside the Porta Camollia
(PI. B, 1), with view -terrace; Centrale, P. Bonifazi, both Via Umberto
Primo; Trattoria del Sasso (also rooms), Via Cavour, ne>r the post office.

Cafes. Caffi Greco, Via Umberto Primo, opposite the Casino de' Nobili
(p. 23); Patticceria Motca, in the Aquila Nera (see above). Panforte is a
kind of gingerbread popular here. — Beer at Barter's, on the Lizza (p. 36).

By Day

Cab Tariff:

one-horse

two-horse

one-horse

two -horse

In the town: to or from the sta-

lfr. -

1 fr. 50

lfr. 30

lfr. 80

— first half-hour ....

— 80

1 -

1 30

— each additional V2 hr.

- 50

- 60

— 70

Beyond the town : first half-hour

1 20

1 50

—

— each additional V2 ur-

- 70

— 80

—

At Night

Each trunk 30, bag 20 c.

Carriage Hirers. Via Cavour 23 and Via Ricasoli 30; carriage per day
25 fr., half- day 8-10 fr. — Saddle-horse per day 8fr., half-day 5 fr. —
Bicycles on hire, Via delle Belle Arti 13.

Post and Telegraph Office, Via Cavour 16, in the Palazzo Spannocchi
(PI. C, 4).

Baths. Swimming-bath near the Fontebranda (p. 35; poor; water cold);
warm baths at MazzeVs, Via Dupre' 45.

English Church Service in spring, in the Chiesa Cristiana Evangelica*
Viale Curtatone.

+ The town of Siena is situated on three ridges (p. 20) and thus falls
naturally into three parts: the Terzo di Ci'ta on the S.W., the Terzo di
San Martino on the S.E., and the terzo di Camollia on the K. hill. —
The narrow, steep side-streets are called costarelle.

20 Route 5. SIENA. History.

Bookseh.ee, Torrini, Via Cavour 8 (also ancient art works). —
Photographs at Lombard?* , Via Umberto Primo 8. — Cabved Wood:
Cambi, Via Umberto Primo 35; Coriini, Via del Capitano 5, near the cath-
edral, and others. — Money Changer: Crocini, Via Cavour 12.

Theatres. Teatro dei Rinnuovati (p. 24), in the Palazzo Pubblico; Teatro
dei Rozzi (PI. C, 5). Via delle Terme 8.

Principal Attractions (1V2-2 days). 1st Day: in the morning, Via
Cavour (p. 22) and Piazza Vittorio Emanuele with the Paluzzo Pubblico
(p. 23l; San Oiovanni (p. 25); Cathedral Museum (p. 28); in the afternoon,
Cathedral (p. 29); Palazzo Buonsignori (p. 29). — 2nd Day: Palazzo Ptcco-
lomini (p. 30); Oratorio di San Bernardino (p. 33); Accademia di Belle Arli
(p. 33); San Domenico (p. 36); Lizza (p. 36); Foiitegiusta (p. 37).

0» 2nd July (Visitation of the Virgin) and 16th August (the day after
the Assumption) picturesque processions, arranged by the 17 Contrade (or
wards), march through the streets, and horse-races, called il Palio (from
the banner given as prize), take place in the Piazza Vittorio Emanuele,
presenting a very attractive scene; seat in a balcony ('po<to di ringhiera')
from 2 fr., less in the wooden galleries below. Comp. W. Beywood, 'Our
Lady of August and the Pali"' (Siena, 1899, 4 fr.). - Visitors iuierested
in Siena may consult also the 'Guide to Siena', by William Beywood and
Lucy Olcott (1903); 'A Pictorial Chronicle of Siena', r.y William ■ Beywood
(1902); 'A History of Sitna', by Langton Douglas (1902); and 'The Story
of Siena', by E. O. Gardner (1902).

Siena (1045 ft.), the capital of the province of that name, with
25,567 inhab. , the residence of an archbishop, and the seat of a
university which was in high repute as early as the 14th cent., though
it now possesses faculties of law and medicine alone, is pictur-
esquely situated 31 M. to the S. of Florence, on three connected hills.
It is now a busy trading and manufacturing place (weaving, etc.); it
also is one of the pleasantest towns in Tuscany, suitable for a stay
of some duration. The climate is healthy, the atmosphere in sum-
mer being tempered by the lofty situation, and the drinking-water
is good ; the language and manners of the inhabitants are pleasing
and prepossessing. Most of the streets are narrow and crooked, but
they contain many palaoes and handsome churches. Next to Rome,
Florence, and Venice, Siena is the most important town in Italy for
the study of the art of the 13- 16th centuries. The brick-clay of the
district has been extensively used in the local buildings.

Siena, the ancient Saena, or Colonia lulia Saena, is said, according to
an ancient legend, to have been founded by Senus , son of Remus, the
brother of Romulus; others maintain that it was founded by the Senoniafl
Gauls and converteu -into a Roman colony by Augustus. At any rate it
has the same arms as Rome , viz. the she-wolf and the twins. The only
Etruscan antiquities here are a few tombs which were discovered in 1864
near the Porta Camollia. The town attained to the height of its prosperity
in the middle ages. After the death of the Countess Matilda (1115) her
extensive dominions were dismembered, and the citizens of Siena, as
well as those of Pisa, Lucca, and Florence, succeeded in establishing their
independence. The government then fell into the hands of the nobility,
but was wrested from them by the people. The ensuing conflicts, however,
terminated in favour of the nobles, and Siena became the leader of the
Ghibelline party in Central Italy, while Florence was the stronghold of
the Guelph faction. From the beginning of the 12th cent, war was con-
tinually being waged with the neighbouring Florentines. Farinata degli
TJberti and the Ghibellines from Florence were welcomed in Siena, and on
4th Sept., 1260, a great victory over the Guelphs, the bloodiest recorded'
In the annals of Tuscany, was gained near Monte Aperto (p. 39) with the

Biatory of Art. SlBflA. 5. Route. 21

aid of the German troops of King Manfred of Naples. Ten years later
Charlet of Anjou succeeded in establishing his influence at Siena, which
had shortly before received the young Conradin of Hohenstaufen with
open arms, and incorporated it as a member of the Tuscan-Guelph con-
federation of towns. The city, however, kept a jealous watch over its
privileges, and, notwithstanding several attempts on the part of the nobility
to re-assert their authority, its constitution remained unchanged. In the
14th and 15th centuries Siena is said to have numbered 100,000 inhab.,
and vied with Florence in wealth and love of art. At length the supre-
macy was usurped by tyrants, such as (about 1487) the art-loving Pandolfo
Petrueci, snrnamed /( Magnifico, whom Machiavelli represents as a pattern
of a despot. In 1493, when Charles VIII. of France arrived in Italy, Siena
concluded an alliance with him, and during the troubles of the firsj half
of the 16th cent, the citizens for the most part sided with the French, by
whom the town was usually garrisoned. In 1555 the French garrison was
compelled by famine to capitulate to the Spanish besiegers, by whose
aid Duke Cosimo I. of Tuscany succeeded in gaining permanent mastery
of the place.

History of Art. The bitter political fate which overtook Siena, converting
the mighty rival of Florence into a quiet provincial town, will strike the
antiquarian as a very fortunate circumstance ; for here are still preserved
many monuments and reminiscences of mediseval life comparatively un-
affected by the vicissitudes and the progress of subsequent ages. The
conservative character of Siena has not, however, been produced, as in
the case of Bruges, by the withdrawal of the stream of history \ for even
when at the height of its power, particularly as compared with Florence,
it manifested a preference for old established rules and a dislike for inno-
vations. The best period of Sienese art still belongs to the middle ages,
when the towns of Italy had begun to pride themselves on their practice
of art, but before the pedantic element had given way to the pure sense of
the beautiful. There is no town in Italy which presents such instructive
examples of the Italian Gothic Architecture of the 13th and 14th centuries
as Siena, where we find magnificent stone buildings vying with graceful
structures in brick. If the Cathedral had been built according to the in-
tentions of the citizens, it would have been one of the largest and most
imposing churches in existence, and even in its reduced proportions it is
one of the finest in Italy. In the secular buildings (of which perhaps
the Palazzo Buonsignori is the finest example) the pointed style predo-
minates; the windows are generally divided by small columns, and the
whole edifice is crowned with pinnacles. In the 15th cent., when the
motive of the castellated mansion was clothed with Renaissance forms,
Siena was not slow to imitate the example of Florence , and , in fact,
borrowed her rival's architects for the designs of her most important
palaces ( Piccolomini, Spannocchi, Nerucci). The most interesting of the Re-
naissance churches is the small round church of San, Sebastiano, usually
known in art-literature as the Chiesa degli Innocenti.

In Sculpture, too, Siena gave free scope to foreign masters. Niccolb
and Giovanni Pisano exercised the predominant influence in the vigorous
evolution of the Sienese School of Sculpture from the 13th cent, onwards,
the magnum opus of which was the decoration of the facade of Orvieto
Cathedral (p. 89). Jacopo della Quercia (1374-1438), was a native of
Siena and took part in the memorable competion for the decoration of
the doors of the Baptistery in Florence. He was one of the founders
of Renaissance sculpture, and his somewhat austere style, akin to that
of Michael Angelo, is well represented in the font of San Giovanni and
the Fonte Gaia. He was succeeded by Lorenzo di Pieteo, nicknamed
II Vecchietta , Antonio Fedeeighi, Francesco di Giorgio, who was
also a famous architect, Giacomo Cozzarelli, and Lorenzo di Mariano,
surnamed Marrina (1476-1534), the most notable sculptor of the advanced
Renaissance style that Siena has known. The school of Wood Carving,
which flourished here more especially in the 15-16th cent., also numbers
several artists of renown including Domenico di Niccolo, Antonio and
Giovanni Bari-- " ~r "" r --"-" T- ~iCcio, and others.

22 Route 5. SIENA. Via Cavour.

Painting was the favourite art of the early Sienese. As early as the
beginning of the 13th cent, they could boast of Dnccio di Bdoninsegna, a
painter whose works far surpass those of Cimabne in beauty and graceful-
ness. On his completion in 1310 of the 'Majestas', or Triumphant Ma-
donna, for the high-altar of the cathedral of Siena, the picture was carried to
the church in solemn procession (p. 28). An equally important master was
Simone Martini (1283-1344), who has been immortalised by a sonnet of
Petrarch, and who, like his contemporary Giotto, practised his art and
exercised his influence far beyond the limits of his native city. Works by
his hand are still to be found at Naples, Orvieto, Assisi, and Avignon,
as well as in the Palazzo Pubblico at Siena. So famous indeed was his
name that it was usual to attribute to him all the best works of his
period. His compositions are of a very primitive character, but he certainly
possessed great skill in his rendering of tender sentiment. Closely akin to
these two masters was Lippo Memmi, who executed large frescoes with
the same elaborate care as miniatures in missals. The easy narrative style
and the imaginative allegory were cultivated by the brothers Pieteo and
Ambeogio Loeenzetti (both of whom probably died of the plague in 1348),
and the approach of the Sienese school to that of Giotto was thus accom-
plished. A little later, however, the works of Baetolo di Fkedi (1330-
1410) fell short of those of his predecessors, and this was still more the
case with those of Taddeo di Baetolo (c. 1363-1422), who was far in-
ferior to his Florentine contemporaries. For a time all artistic progress
at Siena seemed to be at an end, and throughout the 15th cent, the city
did not give birth to a single master of note. The painters Domenico di
Baetolo, Sano di Pieteo, the above-named Vecchietta, Matteo and
Benvenuto di Giovanni, and others of this period adhered tenaciously
to the limited methods of their predecessors, from whose influence they
were unable to emancipate themselves. At the close of the century, owing
to contact with neighbouring schools, whose representatives were fre-
quently invited to Siena, and to the introduction of the study of Floren-
tine, Umbrian, and Lombard masters, the tide of progress at length began
to set in. The most distinguished Sienese masters of this period, far sur-
passing their contemporaries Beenaedino Fdngai, Gieolamo del Paoohia,
Pacchiaeotto, and others, were Baldassabe Peedzzi and Giovanni An-
tonio Bazzi, surnamed II Sodoma. Peruzzi (1481-1536), who was asso-
ciated with Raphael at Rome, was endowed with an admirable perception
of beauty of proportion, and was famous both as an architect and a decora-
tive painter, but Siena now possesses little of his work. Sodoma (ca. 1477-
1549), on the other hand, may be thoroughly studied at Siena. A Lombard
by birth, he brought to Siena some traces of Leonardo da Vinci's style,
but instead of cultivating this, he seems to have trusted to his own nat-
ural ability, and with such success that in one respect he vies with Ra-
phael himself. In the delineation of beautiful and youthful figures he is
unsurpassed, and his technical skill in fresco-painting and Ms fertility
are marvellous; but, in spite of his strong sense of the beautiful, his
works are apt to pall upon the taste owing to the superficiality of their
composition. With Dom. Beccafumi (1486-1551), who frequently altered his
style, begins the period of decline.

From the station (PI. D, 2) the winding Via Garibaldi (Pl.D, C,
2, 3) ascends to join, near the Lizza (p. 36), the Via Cavoub
(PI. C, 3, 5), the handsomest and busiest street in Siena.

Halfway up, on the right, is the small church of Santa Maria
delle Nevi (PI. C, 4), with an early-Renaissance facade and an altar-
piece by Matteo di Giovanni (1477). Farther on, in the Piazza
Salimbeni, stands a monument by Sarrocchi (1882) in memory of
of Sallustio Bandini (1677-1766), who drained the Sienese marshes.
On the E. side of the piazza is the crenelated Palazzo Salimbeni re-
built in 1879 and now occupied by a loan-society (Monte dei Paschi).

Palazzo PubbltSi. STENA. 5. Route. 23

The beautiful Palazzo Spannocchi (PI. C, 4), begun in 1473
by the Florentine Oiuliano da Mnjano, is an early -Renaissance
structure (the exterior restored), with a court surrounded by boldly
constructed colonnades. It is now used as the Post & Telegraph
Office, while on the 3rd floor is the unimportant 'Galleria Succur-
sale' of the Accademia di Belle Arti (p. 33). — Farther on, near
the Via dei Rossi (p. 33), rise the Palazzi Oori (1677), Bichi (1520),
with modern paintings in the loggia in the court; and Palmieri
(1540). The small Piazza Tolomei contains the early-Gothic Pa-
lazzo Tolomei (PI. 0, 5), dating from 1205, and the church of San
Cristofano (PI. C, D, 5), built in 1100 and restored in 1800, with
a finely painted altar-piece by Girol. del Pacchia (Madonna with
SS. Luke and Raymond).

Between the Via Umberto Primo, the continuation of the Via
Cavoiir, and the Piazza Vittorio Emanuele (see below) is the Casino
de' Nobili (PI. C, 5; now the Circolo degli Uniti), once the seat of
the commercial tribunal (Loggia dei Mercanti) ; it was built by Sano
di Matteo and other architects in imitation of the Loggia de' Lanzi
of Florence in 1417, but the upper story is later. The sculptures
are by Sienese masters of the 15th cent., such as Ant. Federighi
(who executed the figures of SS. Ansano, Savino, and Vittore, and
the stone bench on the right), Vrbano da Ccrtona (stone bench on
the left), and Vecchietta (figures of SS. Paul and Peter). — A little
to the N.W. is the little Piazza dell' Indipendenza (PI. C, 5), with
a Statue of Italia by Sanocchi (1879).

In the centre of the town, at the junction of the three hills on
which it stands , is the picturesque *Piazza Vittorio Emanuele
(PI. C, 5), formerly called the Piazza del Campo, which is men-
tioned by Dante (Purg. xi. 134). It is semicircular in form and
depressed towards the centre, resembling an ancient theatre. The
popular assemblies and festivals of the ancient republic took place
here, and it is here that the Palio horse-races (p. 20) are now held.

The massive Gothic Palazzo Sansedoni, on the N. side of the
Piazza, with its pinnacles and half-ruined tower, dates from the
13-14th century. On the diameter of the semicircle rises the —

Talazzo Pubblico (PI. C, D, 6), a huge four -storied edifice
built of brick and travertine in 1289-1305, with pointed windows
divided by small columns, and wings lower than the central part of
the building. (The second floor of the wings dates from the 17th
cent. ; comp. p. 27.) Adjacent rises the slender *Tcrre del Mdngia
(335 ft.), one of the noblest towers in Italy, begun in 1325, and
finished about 1345, so named after the stone figure of a man which
used to strike the hours (a popular figure resembling the Roman
Pasquino, p. 225) ; fine view from the top (412 steps ; 1/2 fr.). 'When
once you have seen the Mangia, all other towers, obelisks, and col-
umns are tame and vulgar and earth- rooted ; that seems to quit the
ground, to be *■«* = m™.™..,.* w - fn~i.*' / w #. Howells). At the

24 Route 5. SIKJNA. raiazzo Pubblieo.

foot of the tower is the Cappella di Piazza, in the form of a loggia,
begun after the cessation of the great plague of 1348 which is said to
have carried off 30,000 persons, and completed in 1376. The elegant
Renaissance upper story was added in 1460 by Ant. Federighi in
place of the original simple roof. The faded fresco on the altar-wall
is by Sodoma. The she-wolf on the column in front of the right
wing, the arms of Siena (p. 20), is by Giovanni di Turino (1429).

The Interior (custodian l/i-l fr. ; test time 10-2) is embellished with
numerous frescoes of the Sienese school. Among those on the Geodhd
Floor are a Coronation of the Virgin, by Sano di Pietro, 1445; a Ma-
donna with SS. Ansano and Galgano, and another with St. Leonard, both
by Sodoma; Madonna with saints, by Vecchietta; a Risen Christ, by Sodoma,
1535 (?), in the room of the Sindaco. — The Teateo dei Rinndovati,
finally rebuilt by Ant. Oalli da Bibbiena in 1753, is the old Sala del Gran
Consiglio.

On the First Floor we begin with the Sala, del Mappamondo (for-
merly Sala dette BaUstre), adorned with large frescoes: Madonna and Child
under a canopy borne by saints, by Simone Martini, 1315, a composition
with numerous figures, somewhat stiff, but with beautiful details; oppo-
site, Equestrian portrait of the Sienese commander Guidoriccio, by Simone
Martini (1328; freely restored); beneath, Madonna (retouched), by Ouido
da Siena, the date of which, 1221, appears to be spurious (prob. 1281;
formerly in San Domenico); to the right rnd left, Sant' Ansano and San
Vittore, and, on the other wall to the right, San Bernardo Tolomei, by
Sodoma; then San Bernardino by Sano di Pietro and Santa Catarina by
Vecchietta. — The vestibule of this hall is adorned with frescoes by Tad-
deo di Bartolo, representing ancient heroes, Judas Maccabeeus, and St.
Christopher and other saints (1441). The vault of the archway is occupied
by a curious view of Borne. — A beautiful iron railing (1435-45), in the
Gothic style, in front of which is a holy-water basin by Giov. di Turino,
separates this vestibule from the Council Chapel. The handsome benches
carved by Domenico di Niccolb (1415-29) have some of their details in the
Renaissance style. The frescoes (left) of the Death and Assumption of
the Virgin are by Taddeo di Bartolo, The altar-piece is a Holy Family
by Sodoma ; on the right is an organ by O. Pifferio and Giov. di Pietro
Castelnuovo (1521). — To the right of the Sala del Mappamondo is the —

Sala della Pace, or Sala dei Nove, with celebrated "Frescoes by Am'
brogio Lorenzetti, painted in 1337-43, representing 'Good and Bad Govern-
ment', three pictures which are indispensable to those who desire an in-
sight into the disposition of the proud citizens of Siena in the middle ages.
The allegories and allusions of a more or less obscure character which
they contain are at least interesting as being of a much more homely kind
than those customary in modern times. One of these mural paintings
represents the ideal of a state, under the guidance of wisdom, justice,
and other virtues, while the two others portray in a realistic style the
consequences of good and bad government. The preservation is imper-
fect, but the spectator will not fail to admire the heads of Peace, Justice,
and Concord, and the portraits of the magistrates in the first of the series.
— Adjoining is a room with portraits of the eight popes and thirty-eight
cardinals to whom Siena has given birth. — Another Room contains some
frescoes recently transferred from other buildings, a Madonna by Matteo
di Giovanni da Siena, 1484, and San Bernardino preaching in the Campo
(p. 20), by Sano di Pietro, interesting for its representation of the piazza
at that period. — The adjoining Sala di BalIa, on the right, is adorned
with ostentatious frescoes from the history of Pope Alexander III. by
Spinello Aretino (1408; including a naval victory of the Venetians, and
the Emp. Frederick Barbarossa and the Doge Seb. Ziani leading the Pope's
horse). In the centre of the room are two chests, one (with the she-wolf)
finely carved by Ant. Barili, the other adorned with paintings and modern
gilding. The fine intarsia door is by Bom. di Niccolb. — The next room

8cm Giovanni. 3IEN3L. 5. Route. 25

is the Sala Vittoeio Emanoele, decorated in 1886-87 by Aldi, Cassioli,
Cei. Maccari, and others with fine frescoes from the life of Victor Em-
manuel II. and the recent history of Italy, unveiled in lt90. — The last
room, to the left of the corridor, is the Sala del Concistoko, with
ceiling-paintings (scenes from Roman history) by Dim. Beccafumi, a fine
marble doorway by Jacopo delta Quercia (above which is the Judgment
of Solomon by Laca Giordano), Florentine tapestries (the five smaller ones
of the 16th cent.) on the walls, and modern busts of illustrious citizens
of Siena.

The rear of the palace, abutting on the Piazza del Mercato (PI. C,
D, G), or vegetable-market, is also very picturesque. The piazza com-
mands a good view of the environs with Monte Amiata (p. 41) in the
distance.

The marble Fonte Gaia (PI. C, 5), the masterpiece of Jacopo
della Quercia (1409-19), which rises in the Piazza Vittorio Ema-
nuele, was freely restored by Tito Sarrocchi in 1868. The original
reliefs, in a very damaged condition, are preserved in the Opera del
Duomo (p. 28). A subterranean conduit, 16 M. in length, has
supplied the fountain with excellent water since 1344.

Leaving the Via Umberto Primo (p. 23), which is especially
thronged in the evenings, we turn to the right, just beyond the Via
Fontebranda (p. 35), and ascend the Via dei Pellegrini, which
ends at the small Piazza San Giovanni. Here, at the corner to the
left, is situated the Palazzo del Magniflco (PI. C, 5) , erected in
1508 for the tyrant Pandolfo Petrucci (p. 21), from designs by
Giaeomo Cozzarelli, in the early Renaissance style. The bronze
ornaments and flag-brackets on the outside are admirable. In front
of the house No. 5 is a bronze bust of Francesco di Giorgio (p. 21),
unveiled in 1902.

In a straight direction we see the choir of the loftily-situated
cathedral, under which is the old baptistery, now the church of *San
Giovanni (PI. B, C, 5), built after 1317, with an unfinished Gothic
*Facade by Giac. di Mino del Pellicciaio (1382, restored in 1900).

Interior. The chief adornment here is the marble *Font, designed
by Jacopo della Querela, executed in 1417-30 and adorned with bronze
figures. The statuette of John the Baptist (on the top), the marble reliefs
of the five prophets, and one of the six beautiful bronze-gilt reliefs from
the history of John the Baptist (Zacharias in the Temple, 1419, cast in
1430) are also the work of Quercia. The others are by Lorenzo Okiberti
(Baptism of Christ and John the Baptist brought before Herod, 1427);
Donatello (Head ot John the Baptist brought before Herod and his guests,
1425; a work full of passionate life); and Twrino di Sano and his son
Giovanni di Turino (Birth and Preaching of John the Baptist). The last
also executed the figures of Charity, Justice, and Prudence ; the charming
figures of Faith and Hope are by Donatello; that of Fortitude is by Ooro
di Neroccio. The four putti (two others are missing) on the cornice are
by Donatello and the Turini. — Over the high-altar is a Baptism of Christ
by And. Puccinelli, surnamed // Bresdanino.

From the Piazza San Giovanni we may either follow the street to
the right, past the Palazzo Arcivescovile (PI. B, 5), or we may ascend
the steps to the left. By either way we reach the Piazza del Duomo.

The ** Cathedral, or La Metropolitans. (PI. B, 5, 6), occupy-
ing the higher* o-Tnund in tfio tnwn is sairi tn stand on the site of a

26 Route 5. SIENA. vathedral.

temple of Minerva, which was succeeded by a church of Santa Maria
Assunta. The present building, modelled on San Galgano (p. 38),
was begun early in the 13th cent. ; the dome was completed in
1264; and about 1317 the choir (which terminates in a straight
line) was prolonged to the E. over the church of San Giovanni
(p. 25). Owing to certain structural defects, to which the present
irregularity of the edifice is still perhaps partly due, it was resolved
in 1339 to erect a huge nave, of which the present cathedral was
to form the transept only, according to a plan preserved in the
Opera del Duomo (p. 28). Remains of this building, which was
of the most noble design, still exist on the S. side of the cathedral.
After the plague of 1348 this ambitious plan was abandoned, and
the original structure was then completed. (Length 97 yds., width
26y2 yds., length of transept 55 yds.) The *Facade, completed
in 1380 from a design by Giovanni Pisano (?), is composed of red,
black, and white marble, and richly decorated with sculptures re-
presenting prophets and angels (mainly reproductions dating from
the restoration of the cathedral in J 869; the weather-beaten orig-
inals in the Opera del Duomo, p. 28); the Venetian mosaics were
added in 1878 after designs by Mussini and Franchi. On each side
of the steps is a column bearing the she-wolf of Siena (p. 20). The
campanile, which dates from the end of the 14th cent, and con-
sists of six stories, does not taper towards the top. The facade is
best seen by moonlight, 'when disagreeable details are unapparent
and the great mass of black and white marble becomes a gleaming
vision (Olcott).

The "Interior consists of a nave and aisles extending to the choir
and intersected by a doulle transept, with an irregular dome (twelve
angles above and six below) over the centre. The horizontal bands of
colour, the cornice with the busts of popes (in terracotta; about 1400),
and the pillars with the half-columns will at first produce an unfavourable
impression, but the pleasing ornamentation in marble compensates to a
great extent for organic defects.

The stained glass in the large circular window in the wall of the en-
trance was designed by Perin del Vaga and executed by Paitorino Micheli
in 1549. Over the entrance is a graceful tribune of 1483, borne by two
columns. The fine b;isins for holy water are by Ant. Federighi (1462-63).

The marble "Pavement is quite unique, being covered with 'Graffito'
representations from designs by eminent artists: scenes from Old Testament
history, Moses, Samson, Judas Maccabseus, Solomon, and Joshua by Do-
menico di Niccolb (1423); Absalom, by Pietro del M'nella; the Massacre of the
Innocents, by Matteo di Giovanni (1481); Abraham's Sacrifice, Adam and
Eve, Moses on Mt. Sinai, etc., by Beccafumi; the symbols of Siena and the
towns allied with it, Hermes Trismegistus, Socrates and Crates, the Sibyls
(1482-83), and other figures by artists of the 14-16th centuries. The exe-
cution varies. The oldest scenes are simple outlines engraved on the
white marble and filled with black stucco. Shading was then introduced
by the use of grey and also of coloured marble, so that the graffito
gradually developed into an elaborate mosaic. Most of the pavement is
generally protected by a wooden floor, which is, however, removed for a
few weeks after Aug. 15th (Feast of the Assumption). Some of the original
works are now in the Opera del Duomo (p. 28), being replaced by copied
in the cathedral. Comp. 'The Pavement Masters of Siena' bv R B
Hobart Cuit. ' '

Cathedral. "SIEWX. 5. Route. 27

Left Aisle. At the entrance-wall , statue of Pope Marcellus II., by
Dom. Cafaggi. — 4th Altar (of the Piccolomini; presented by Cardinal
Francesco Piccolomini, p. 28), with sculptures by Andrea Bregno of Lugano
(1485) and statues of SS. Peter , Pius , Gregory , and James, by Michael
Angela, and St. Francis, begun by Torrigiani and completed by Michael
Angela (about 1501 5). — To the left of the entrance of the Libreria is
the coat-of arms of Bandino Bandini, with the Risen Christ and angels,
attributed to Michael Angela (?).

The 'Pulpit, octagonal in form and constructed of white marble,
borne by nine granite columns, some of which rest on lions, and adorned
with admirable reliefs from the New Testament, is by Niccolb Fisano, his
son Giovanni, and his pupils Arnolfo di Cambio, Lapo, and Donate (1266-68).
The flight of steps was designed by Bart. Neroni, surnamed II Riccio (1543).

The Left Tkansept contains the beautiful Cappet.la San Giovanni,
in the early-Renaissance style, by Giov. di Stefano (1481), with a "Portal
by Lor. di Mariano. In the interior are a bronze "Statue of John the
Baptist by Donatello, 1457; a marble statue of St. Catharine, by Neroccio
di Bartolomeo (1487); one of St. Ansanus, by Giov. di Stefano; a font by
Ant. Fedrrighi; stucco enrichments on the walls by Alb. Caponeri and Cot.
Lucchi (1596); and five small frescoes by Pinturicchio . three being scenes
from the life of Alberto Arringhieri, the donor. A silver casket, by F ran-
cetco di Antonio (1466), contains an arm of John the Baptist. — Farther
on in the same transept are the elaborate Gothic mural tomb of Cardinal
Riccardo Petroni (d. 1313), and statues of Popes Pius III. and Pius II. by
P. Balestra and G. Mazzuoli respectively. — The chapel to the left of
the choir contains a relief dating from the end of the 13th cent., represent-
ing the Annunciation, the Nativity, and the Adoration of the Magi, re-
moved hither from the old church of Ponte alio Spino (p. 38). The bronze
relief in the pavement in front of this work is by Donatello, and marks
the tomb of Bishop Giovanni Pecci (d. 1426).

The Choir contains a high-altar executed from a model by Baldassare
Peruzzi (1532); behind it richly carved choir-stalls, reading-desk, etc., by
Bartolomeo JVeroni, surnamed Riccio (1567), and inlaid work (intarsia) by
Fra Giovanni da Verona (15(13). The fine bronze tabernacle is by Vecchietta
(1465-72); the angels, holding candelabra, are by Giovanni di Stefano and
Francesco di Giorgio (1489); the front row of stalls and the TOOd-loft
by Raffaello da Brescia (1520). The frescoes, originally by Beccafumi
(1544), were entirely renewed and altered after 1812. — By the pillars of
the dome are two flagstafTs from the standard-waggon (carrocc o) used at
Monte Aperto in 1260 (p. 20) by the victorious Sienese. — To the left of
the high-altar is an organ-loft by the two Barili (1511), above the entrance
to the sacristy, which contains (to the left) a holy-water basin by Giov.
di Turino. In the sacristy is a 15th cent, painting, perhaps by Sano di
Pietro, with a view of the original Palazzo Pubblico (p. 23).

In the chapel to the right of the choir are reliefs of the Evangelists
and St. Paul, by Francesco da Imola and Giov. di Turino. The flat monument
of Bishop Carlo Bartoli (d. 1444) was executed by Ant. Federighi from the
design of Pietro del Minella.

The Right Transept contains statues of Popes Alexander VII. (by
Ercole Ferrata) and Alexander III. (by Ant. Raggi). — The Cappella del
Voto, belonging to the Chigi, built for Alexander VII. (Fabio Chigi of
Siena, papal nuncio at the Peace of Westphalia in 1648, pope in 1665-67)
in 1661, by Ben. Giovanelli, is richly adorned with lapis lazuli, marble,
and gilding, and contains a picture of the Virgin (Madonna delle Grazie),
and statues of St. Jerome and Mary Magdalen (said originally to have
been an Andromeda) by Bernini.

Right Aisle. Next the transept is the tomb of Bishop Tommaso Pic-
colomini (d. 1483), by Neroccio di Bartolomeo. At the other end is a
statue of Pope Paul V., by F. Signorini.

The S. side-entrance of the cathedral is surmounted by a fine relief of
the Madonna attributed to Michelozzo.

In the left t.'-\r. -.- -'.?;■•--.•*- vnfvoti-.- ?:?. '• *v?, entrance to the celebrated

28 Route 5, SIENA. upera aei Duomo.

•"library of the Cathedral (Libreria; best light in the afternoon} fee
25-60 c), formerly the Sala Piccolominea, one of the finest and best pre-
served structures of the early -Renaissance period, erected by order of
Cardinal Francesco Piccolomini, afterwards Pope Pins III., in 1495. The
exterior of the entrance-wall is adorned with beautiful marble sculptures
by Lor. di Mariano (1497). Over the donr is a fresco by Pinturicchio ( Coro-
nation of Pius III., who reigned 27 days only, in 1513). The interior,
with its fine tiled floor, its mural paintings, and its frescoed vaulting,
executed in 1505-7 by Pinturicchio and his pupils, with the assistance (accord-
ing to Vasari) of Raphael (?), is a marvel of harmonious decoration. The
ten frescoes on the walls represent scenes from the life of JEneas Splviui
Piccolomini of Pienza (p. 43), Archbishop of Siena (1450-58), and afterwards
Pope Pius II. (1458-64) : (1) Departure of ^Eneas Sylvius for the Council of
Basle; (2) .Apneas Sylvius in presence of King James I. of Scotland, to
whom he had been sent by the Council; (3) His coronation as a poet by
Emperor Frederick III. at Frankfort in 1445; (4) ./Eneas Sylvius doing
homage to Pope Eugene IV. in the name of the Emperor; (5) Betrothal
of Emperor Frederick III. to Eleonora of Portugal at Siena by ^Eneas
Sylvius ; (6) Mnea.8 Sylvius created a cardinal by Pope Calixtus III. ; (7)
jEneas Sylvius elected Pope Pius II. ; (8) Pius II. at the diet of princes in
Mantua; (9) Canonisation of Catharine of Siena; (10) Death of Pius II.
at Ancona, while preaching a crusade against the Turks. The dainty
grotesques in the spandrels near the entrance are especially well preserved.
Designs for these frescoes are now preserved in the TJffizi (that of No. 1),
in the Brera at Milan (No. 3), and by the Duke of Devonshire at Chats-
worth (No. 4). — The missals, embellished with beautiful miniatures, also
deserve attention: No. 5 and No. 9 by Liberate da Verona, No. 12 by
Oirolamo da Cremona (all dating from 1467-75), and No. 11 by Sano di
Pietro. — On a fine Renaissance pedestal stands a famous antique "Group
of the Graces (much mutilated), found at Rome about 1460 in the reign
of Pius II. and presented by him to th& cathedral library. From this
work Raphael is said to have made his first studies from the antique
(drawing at Venice).

Opposite the S. side of the cathedral , in the corner where the
steps ascending from San Giovanni terminate under the arches of the
uncompleted nave (p. 26), is the former Opera del Duomo (PI. C, 6),
now the Cathedral Museum, which contains several interesting
works of art. In the entrance-passage is the custodian's bell C/2 fr->
best time 10-4).

The hall on the Ground Floor contains "Sculptures from the Fonte
Gaia (p. 25) by Jacopo delta Quercia, representing a Madonna, the Christian
Virtues, the Creation of Man, and the Expulsion from Paradise, which
are among the master's finest works (unfortunately much damaged ; comp.
the restored casts adjoining); a figure of Moses by Ant. Federighi, from
the Fonte degli Ebrei in the Ghetto; and a painted terracotta figure of
St. John the Evangelist, by Neroccio di Bartolomeo (7). Sculptures from
the Cappella di Piazza (p. 23), and others from the facade of the cathedral
before its restoration. — Antique sarcophagus with sea-gods. — 'Graffiti
from the Cathedral Pavement (comp. p. 26). — On the First Floor is a
reduced copy of the entire cathedral pavement. — On the Second Floor
several interesting plans for the cathedral; handsome embroideries;
crosiers; ring of Pius II. Also several early Sienese paintings, the chief
of which is the large ^Picture by Duccio di Buoninsegna: on the left the
Madonna enthroned, with the Child and saints, the once highly revered
'Majestas', which was placed over the high-altar in 1310 (p. 22) with
the inscription: Mater Sancta Dei, sis caussa Senis requiei, sis Ducio vita,
te quia pinxil ita. On the left is the Life of Christ, in 26 sections which
originally formed the back of the Majestas. Also four saints by Amir.
Lorenzetti; a Byzantine Madonna of the 12th cent. ; a Nativity of the Virgin
by Pietro Lorenzetti (1342), in a life-like genre style; a Story of the Cross
by the same.

Palatzo BuonftgWrr. -BISM.. 5. Route. 29

Adjoining the Cathedral Museum is the Palazzo Reale (PI. B, 6),
erected by Bern. Buontalenti, now the seat of the prefecture. Beyond,
in the Via del Poggio, are the Regie Scuole, the church of which
contains a (repainted) wooden *Statue of St. Nicholas of Bari, by
Neroccio di Bartolomeo (?).

Opposite the facade of the cathedral are the church and hospital
of Santa Maria della Soala (PI. B, 6), of the 13th century. Over
the high-altar of the church is a Risen Christ , a statue in bronze
by Vecchietta (1466). The choir-stalls are by Ventura di Oiuliano,
the organ by B. Peruzzi (?). Adjoining the entrance-hall of the
hospital, with its handsome Renaissance coffered ceiling, by Ouidoccio
d' Andrea, is a large sick-room called 'II Pellegrinaio', adorned with
frescoes from the history of the monastery by Domenico di Bartolo
(1440-43) and others. Pleasing view from the windows (fee y2 fr.).

The Via del Capitano (PI. B, 6) leads from the S. corner of the
Piazza del Duomo to the quarters of the town situated on the S.W.
hills. Immediately on the right is the Palazzo Grottanelli
(formerly Pal. Pecef), a Gothic building of the 13th cent., originally
the official residence of the Capitano di Giustizia, or chief judicial
functionary, and of the Capitano di Guerra, or military commander.
In 1457 it was acquired by the jurist Tomm. Pecci, and in 1854
et seq. it was restored in the original style by G. Rossi. — Farther
on, also to the right, at the corner of the small Piazza Postierla, is
the Palazzo Chigi, now Piccolomini, which contains two saloons
adorned with frescoes by Barend. van Orley, a Fleming who joined
Raphael's school at Rome. The column with the she-wolf in the
piazza dates from 1487. — Not far off, in the Via Umberto Primo
(p. 23), which diverges here to the left, is the Palazzo Nerueci
(No. 20; PI. C, 6), erected after designs by Bernardo Rossellino in
1463 for Catharine, the sister of Pius II., and now occupied by
the Banca d'ltalia. Beyond it, to the right, is the Gothic Palazzo
Saracini (formerly Marescotti; 14th cent.), the vaulting in the court
of which is tastefully painted. Within are paintings by Andrea Vanni,
Neroccio di Bartolomeo, Vecchietta, Girol. del Pacchia, Beccafumi,
and other masters. Opposite stands the Palazzo Marsili, rebuilt in
1459 and restored in 1876. — In the Via di Stalloreggi, diverging
from the Piazza Postierla to the right, is a corner-house (No. 2 Via
di Castelvecchio) in which is preserved a fresco by Sodoma ('Madonna
del Corvo').

On the left, in the Via San Pieteo (PI. B, C, 6, 7), the continuation
of the Via del Capitano, is (No. 11) the *Palazzo Buonsignori, a
handsome Gothic edifice of the 14th cent., in brick, with a rich
facade, restored in 1848. The vestibule and court are in the early-
Renaissance style. — The church of San Pietro alle Scale (PI. C, 7)
contains paintings by Sano di Pietro, Salimbeni, Rutilio Manetti
(Flight into Egypt, at the high-altar), and others. ■— Passing under
an archway, we enter the Ptazza Gron-nA-wn ■Reuno (PL C, 7), with

30 Route 5. SIENA. Pal. Piccolornini.

the Reale Collegio Tolomei, formerly a convent and now a grammar-
school (Liceo), and the church of —

Sant' Agostino (PI. C, 7) , remodelled by Vanvitelli in 1755,
the entrance to which is in the Liceo, to the left.

Over the 2nd altar on the right, a Crucifixion by Pietro Perugino (before
1506). Massacre of the Innocents by Matteo da Siena (1482), in a chapel
on the right. Statne of Pius II. by Dupri. Altar-piece, an Adoration of the
Magi by Sodorna. At the back of the choir, on the left, the Legend of
Sant' Agostino Novello in three sections, by Lippo Memmi (? more probably
by Simone Martini). In the left transept, painted terracotta statue of
San Niccolo da Tolentino, by Qiac. Cozzarelli. In the second chapel to
the left of the choir, Temptation of St. Anthony, by Eutilio Manetti. Also
pictures by Salimbeni and others.

In the Via deiTufi, which leads hence to the Porta Tufi(PL C,8),
is, on the right, the entrance to the Botanic Garden (adm. 10-12
and 2-6; fee 50 c; visitors ring). — The Cimitero delta Miseri-
cordia, just outside the gate, contains among its monuments a good
Pieta by Dupre' and several statues by Sarrocchi, Pegni, and others ;
finest view in the morning and evening (fee 30-50 c).

In returning, we follow the Via della Cerchia (No. 3 in which
is the small Palazzo Finetti) to the W. of Sant' Agostino, and then
the Via BaldassaTe Peruzzi, on the left side of which are the sup-
pressed monastery (now a barrack) and chuTch of —

Santa Maria del Carmine (PI. A, 7), a handsome brick edifice,
with campanile and cloisters, ascribed to Baldassare Peruzzi (open
10-12 on week-days). On the right is the Cappella del Sacramento,
with a Nativity of Mary by Sodoma ; 4th altar on the right, Ascen-
sion by Pacchiarotto ; 5th altar on the left, St. Michael by Beccafumi.
In the beautiful sacristy is a statue of St. Sigismund by Cozzarelli.

Opposite is the Palazzo Pollini (PL B, 7), formerly Celsi, at-
tributed to Peruzzi. — We now proceed straight on through the
Via del Fosso di Sant' Ansano to the early-Renaissance church of
San Sebastiano (PL B, 6 ; we ring at the door of No. 58), the exterior
of which is quite unfinished. The charming interior (1490?), which
is in the form of a Greek cross, was planned by Qirol. Ponsi. — We
may now either return by the steps on the right to the Piazza del
Duomo, or proceed through the Via Vallepiatta (left) to the Fonte-
branda (see p. 35).

Outside the Porta San Marco (PL A, 8) there is a fine view.

From the E. angle of the Piazza Vittorio Emanuele (p. 23) the
short Via Rinaldini leads to the *Palazzo Piccolornini (PI. D, 5),
now the Palazzo del Govemo, one of the most imposing private
edifices of the early-Renaissance style in Siena, erected for Nanni
Piccolornini, father of Pius III. (p. 27), after 1469, probably from
a design by Bernardo Rossellino. The principal facade with the
arms of Pius II. and Pius III. and its tasteful decorations in wrought
iron (horses' heads , etc.) looks towards the Via Ricasoli. The

Santo Spirito. SIENA. 5. Route. 31

courtyard (spoiled by additions) contains graceful capitals by Lor.
di Mariano (1509). Since 1859 the palace has been the repository
of the Municipal Archives, one of the most important collections of
the kind in Italy (adm. daily, except Sun., 10-3); entrance in the
court on the left (third story).

Parchment Charters, 52,000 in number, the oldest dating from 736, and
including the imperial charters from the time of Otho III. Some of these
documents, as well as Autographs of celebrated men (Pius II., Leo X.) and
Miniatures (including a beautiful Assumption, by Nic. di Ser Sozzo Teg-
liacci, of the 14th cent.), are exhibited under glass. The student of Sienese
painting will be interested in the valuable collection of Tavoletle, or book-
covers, the oldest specimens (1257- 1456) being those of the Municipal Treas-
ury Registers. Among them are the covers of the books of the Biccherna
(the office for the receipt and disbursement of revenue?) and the Gabella
(or tax-collector's office), with portraits of officials, scenes from sacred
and profane history, etc. They include works by Airibr. Lorenzetti, Giovanni
di Paolo, Francesco di Giorgio, Matteo di Giovanni, and Sano di Pietro. The
collection has unfortunately been much reduced by sales to foreigners.

Opposite the Palazzo del Governo rises the recently restored
University (PL D, 5; comp. p. 20), -which has about 60 lecturers
and 230 students. In the court is a ■war-monument in memory of
1848. In the corridor to the right is the monument of the celebrated
jurist Niccolb Arringhieri (1374), with a bas-relief representing the
professor in the midst of his audience.

The graceful Loggia del Papa (PI. D, 5), in the neighbouring
Piazza Piccolomini, was erected in 1460-63 by Antonio Federighi
by order of Pius II., and dedicated by the pope 'gentilibus suis'.

Adjacent is San Martino (PI. D, 6), dating from 1537; the
facade by Giov. Fontana (1613).

Over the 2nd altar on the right, a Presentation in the Temple by
Quido Rent. At the 3rd altar on the left are ornamental sculptures in
marble by Lorenzo di Mariano (1522), and a Nativity of Christ by Becca-
fvmi. The choir contains gilded wooden statues of the Madonna and four
saints, by a follower of Jacopo delta Quercia.

The Via Ricasoli (PL D,E, 5, 6) traverses the crest of the S.E.
hill and leads to the Porta Pispini and the Porta Eomana (14th cent.),
the two S.E. gates. — Immediately to the right in this street is the
Fonte de Pantaneto, dating from 1352, restored in 1867. — To the
left, a little farther on, the Via di Follonica descends to the Fonte
di Follonica (PI. E, 5), constructed in 1239 and charmingly situated
in a garden far below. — After 5 nrin. more, beyond the church of
San Oiorgio (PL E, 6), the Via de' Pispini diverges to the left, in
which we first reach the old convent-church of —

Santo Spirito (PL E, 6), with a dome dating from 1508, and a
portal from 1519, the latter designed by Baldassare Peruzzi.

Intekiob. Above the entrance-door is a Crucifixion by Sano di Pietro.
The 1st chapel on the right (Cappella degli Spagnuoli) contains, above a St.
Eosa of Viterbo (p. 100), the following admirable paintings by Sodoma (1530) :
Madonna presenting the gown of the Order of the Dominicans to St. Alfonso,
in the presence of SS. Octavia and Lucia ; to the right and left SS. Sebast-
ian and Anthony the Abbot ; at the top, St. James of Compostella on horse-
back (fresco). To the right is an Adoration of the Shepherds in terracotta
by the Florentine Fra Ambrogio delta Robbia (1504). — By the first altar to

32 Route 5. bush a. dim Francesco.

the left, Virgin between SS. Francis and Catharine, by Matteo Balducci.
Over the 3rd altar to the left, Coronation of the Virgin by Girol del Pacchia,
an early work. — In the Sacristy, Coronation of the Virgin, by Beccafwni. —
The beautiful Cloisters (sagrestano 20-30 c.) are unfortunately disfigured by
modern additions ; they contain a Crucifixion by Fra Paolino of Pistoja (1516).

The Fonte <Ze' Pispini dates from 1534. On the neighbouring

Porta Pispini is a damaged fresco (Nativity) by Sodoma (1531).

Opposite Santo Spirito we enter the Vicolo del Sasso, follow the
Via San Girolamo to the right, pass a column with the she-wolf,
and reach San Girolamo (Pi. E, 7), belonging to a former nunnery
(3rd altar to the left : Madonna with saints, by Matteo di Giovanni,
framed in marble by Lorenzo di Mariano). On the left we next
reach the church of the —

Servi di Maria (PI. E, 7), or Santissima Concezione, re-erected in
1471-1523, with a beautiful interior attributed to Bald. Peruzzi (?).

First altar to the right : Madonna, by the Florentine Coppo di Marco-
valdo, 1261. Fourth altar to the right : Massacre of the Innocents, by Matteo
di Giovanni, 1491 ; above, Adoration of the Shepherds, by Taddeo di Bartolo.

— In the right transept, above the sacristy-door : 'La Vergine del Popolo',
by Lippo Memrni. — The Coronation of the Virgin is the masterpiece of
Bern. Fungai (1500). — The chapels to the right and left of the high-altar
contain (restored) frescoes by Arnbr. Lorenzetti (v): Massacre of the Innocents,
Daughter of Herodias, Death of John the Baptist. By the 2nd altar to the
left, Madonna del Belvidere by Giacomo di Mino del Pellicciaio (p. 25; 1363).

— In the sacristy is the 'Madonna del Manto' (1436), by Giovanni di Paolo
(freely restored).

The Porta Romana (PI. E, 8) has a damaged fresco (Coronation

of the Virgin), begun by Taddeo di Bartolo and finished by Sano

di Pietro. — About y3 M. beyond the gate is the church of Madonna

degli Angeli, the choir of which contains a Madonna with saints, by

Raffaello Carli, 1502.

Opposite the N. side of the Palazzo Piccolomini (p. 30), beside
the University (p. 31), begins the Via San Vigilio, leading to the
church of the same name (PI. D, 5), which is adorned with sculp-
tures of the 18th century. Farther on, we pass the church of Santa
Maria di Provenzano (PI. D, 4; 1594), traverse several narrow
streets, and reaeh the Piazza di San Francesco (PI. D, E, 4), in
which rise the convent-church, of San Francesco and the Oratorio
di San Bernardino. The N. side commands a fine -view of the
Osservanza monastery (p. 37) and of the Chianti mountains.

San Francesco (PI. E, 4). a Gothic church without aisles (1256-
1326), modernised after the fire of 1656, was restored in the original
style in 1885-92. Above the portal is a statue of St. Francis, ascribed
to Ramo di Paganello (?).

Interior. The modern stained glass is mostly by Zetller, of Munich. —
The new high-altar is by Givi. Partini (1S92). Adjoining it, on the wall
to the left, are marble medallions of Silvio Piccolomini and Vittoria
Forteguerri, the parents of Pius II. (p. 28). — In the 3rd and lgt chapelt
to the left of the choir are frescoes by Jmbr. Lorenzetti, from the chapter-
house of the convent: Innocent III. confirming the ruleB of the Order;

Accademia detHMsLU A.tL -BIB&Ar" 5. Route. 3. J

Death of the martyred Franciscan monks at Ceuta in Morocco ; Crucifixion,
the last two probably studio-works. — In the 2nd chapel to the right of
the choir: Tomb of Cristi;foro Felici, by Urbano da Gortona (1436). — The
new winged altar-piece in the 3rd chapel is by Arturo Viligiardi, that in
the 2nd chapel (left) by Meacci. — The modern altar-piece in the Cappella
del Santissimo Sacramento is by Ces. Maccari; the old graffiti on the floor
are by Lor. di Mariano (1504).

The church is adjoined by two fine early-Renaissance Cloisters, with
remains of tombs of the nobles (14th cent.), which were destroyed by the
fire of 1655. — To the left of 1he entrance to the seminary (formerly the
convent) is a relief of the Madonna by Oiac. Cozzarelli. The chapel con-
tains a Madonna and Child, by Ambr. Lorenzetli (high-altar), and a Madonna
and saints, by Barna (left wall).

The Oratorio di San Bernardino (PI. E, 4) possesses admirable
♦Pictures by Sodoma (1518-32) and others. Afternoon light best.
The 'custode' lives at No. 6, adjoining (fee 30-50 c).

Lower Oratorio : Scenes from the life of St. Bernardino of Siena
(1380-1444), of the close of the 16th century. — Upper Oratorio (much
more important paintings): Events in the life of the Virgin (frescoes);
on the left wall, opposite the entrance, Girol. del Pacchia, Nativity of the
Virgin ; Sodoma, Presentation in the Temple ; Dom. Beccafumi, Marriage of
the Virgin. On the altar- wall: Girol. del Pacchia, Annunciation ; the altar-
piece is by Beccafumi (1537). On the right wall : Sodoma, Visitation ;
Beccafumi, Death of the Virgin; Sodoma, Assumption. On the window-wall:
Sodoma, Coronation of the Virgin. In the corners : "Sodoma, SS. Anthony,
Bernardino, Louis, and Francis. The admirable enrichments of the ceiling,
the frieze, etc., executed by Ventura di Ser Giuliano Turapilli after 1496,
are among the most tasteful of early-Renaissance works. In the vestibule
is a relief of the Madonna, by Giovanni di Agoslino (1341).

The Via dei Rossi leads back from the Piazza San Francesco to
the Via Oavour (p. 22).

To the left of the Via Oavour diverges the Via delle Belle
Arti (PI. C, B, 4), which leads past the Accademia and the Library
straight to the church of San Domenico (p. 36).

The Accademia delle Belle Arti (PL C, 4), contains the
*Pina.coteca, founded in 1816, a valuable collection of about 700
pictures, chiefly works of the older Sienese school, most of which
were procured from suppressed monasteries and from the Palazzo
Pubblico. The collection is chronologically arranged. The names of
the artists are given on the frames. Keeper, 8ig. Arnoldo Prunai.
Adm. 9-3 daily (1 fr.), except on Sundays an dholidays (bell below,
to the right). New catalogue (1903 ; 1 fr.-).

At the entrance, Reliefs of little value. The first door on the right
leads to the large Room X (see p. 34), the second to the —

I. Corridor (13- 14th cent.): 1-15. Pictures of the 13th cent., still in
the Byzantine style; 2. Margheritone oVArezzo, St. Francis; 16. Guido da
Siena, Madonna; 20, 22, 2a, 35, 47. Duccio di Buoninsegna, Altar-pieces;
46. Niccolb di Segna, Crucifixion (1345); 51. Lippo Memmi, Madonna and
four saints.

II. Corridor (14-15th cent.) : 65. Ambrogio Lorenzetli, Madonna; 61,80.
Pietro Lorenzetli, Madonnas ; 67. Lippo Memmi, SS. Michael, Jerome, and
John the Baptist; 88. Ambrogio Lorenzetli, Annunciation (1344); Bartolo
di Fredi, 100. Four scenes from the life of the Virgin, 104. The Magi; 107.
Taddeo Gaddi, Madonna (1355); 119, 125 Spinello Aretino, Coronation and
Death of the Virgin; 127, 128, 130-132, 134, 135, 143, 144. Taddeo di Bartolo
(131. Annunciation).

Baedeker. fl— *— 1 TMir liUl) FJ!t'"" 3

34 Route 5.

SiJiiNA. Jiccautrrua ue«c utile Arti.

III. Coekidor (14-15th cent.) : Pictures by Giovanni di Paolo (No. 173
dated 1453, No. 200 dated 1440). Also : 149-152. Unknown Master, Triumph of
Death, Chastity, Love, and Fame (after Petrarch); 164. Domenico di Bartolo,
Madonna with angelic musicians (1433); 203. Pietro di Giovanni, San
Bernardino; 205, 210. Vecchietta, San Bernardino, Madonna with saints.

Rooms IV (to the right) and V are devoted to the works of Sano di Pietro
(1406-81) the 'Sienese Fra Angelico', chiefly large altar-pieces. Boom IV:
246. Altar-piece of 1444. Above Ihe entrance to EoomV: 241. Madonna
and St. Calixtus; in RoomV: 17. Coronation of the Virgin. — VI. Room
(15-16th cent.): 272, 273. Sano di Pietro ; 279. Pietro di Domenico, AdOTation
of the Shepherds, with SS. Galganus and Martin. Also works by Matlto di
Giovanni (No. 286 dated 1470), Neroccio di Bartolomeo (No. 282 dated 1476),
Francesco di Giorgio (No. 288), and Guidoccio Gozzarelli (No. 296, St. Sebastian,
dated 1495). — A narrow passage leads hence to the right to Room VII,
which contains paintings of the 13-16th cent., most of them damaged, some
old Italian engravings, and a few woodcuts after Durer. — We now return,
cross the entrance-passage diagonally, and enter the small —

VIII. Room (14-16th cent.) : Sodoma, 326. Madonna, 327. Two guild-brothers
adoring the Cross; Girol. Genga, 333. Ransoming of prisoners, 334. Flight of
./Eneas; Sodoma, "352. Scourging of Christ (remains of a fresco taken from
San Francesco), 354. Judith, 357. St. Catharine. 360. Madonna, 361. Dead Christ
supported by two angels. The elegant wooden pilasters by Antonio Barili
in this and the following room should be observed ; they were formerly
in the Palazzo del Magnifico (p. 27). — IX. Room (15-16th cent.): 368. Andrea
di Niccolb, Crucifixion, with saints (1502); 386. Pinturicchio, Holy Family.
— From the entrance-passage we now enter, to the left, the —

X. Large Hall (15-16th cent.). On the upper part of the walls are six
cartoons for the pavement of the cathedral, by Beccafumi (much damaged).
To the right and left of the entrance, 401. Sodoma, Christ on the Mt. of
Olives (fresco from Santa Croce); 407. Pinturicchio, Holy Family. —To the
right : 410. Girol. del Pacchia, Annunciation and Visitation (after the picture
by Albertinelli in the Uffizi); "413. Sodoma, Descent from the Cross; 414.
Girolamo di Benvenuto, Madonna enthroned, with saints (1508), the Nativity in
the lunelte by Maltto di Giovanni ; 420. Beccafumi, St. Catharine ; 422. Pacchia-
rotto, Ascension. — To the right and left of the exit: PaccMarotto, 424. Ma-
donna with SS. Honuphrius and Bartholomew; 426. Visitation, with SS.
Michael and Francis ; 427. Beccafumi, Christ in Purgatory. On the left wall:
423. Beccafumi, Downfall of the Angels; 428. Franc, di Giorgio, Crucifixion;
431. Bern. Fungai, Madonna and saints (1512); 432. Matteo di Giovanni, Ma-
donna enthroned, with angels and faints ; Benvenuto di Giovanni, 434. Assump-
tion, 436. Madonna with angels and saints (1475) ; Francesco di Giorgio,
437. Nativity, 440. Coronation of the Virgin; 441. Fungai, Assumption; 443.
Sodoma, Christ in Purgntory (fresco from Santa Croce); *444, 447. Bartolomeo
Neroni (II Riccio), Coronation of the Virgin, with predella.

House of St. Canfanne. SIENA. 5. Route. 35

XI. Room (16-17th cent.). To the right: 451. Fra Bartolomeo, Mary
Magdalen ; 512. Sodoma, Nativity ; 462. Altdor/er, Martyrdom of St. Quirinus ;
463. Bart, de Bruin, Portrait; 488. AUdorfer, Scene from the legend of
St. Quirinus; 504, 489. Amberger, Charles V. (copies); 495. Pinturicchio, Holy
Family ; 500. Palma Vecchio, Madonna ; 501. In the style of Albrecht Durer,
Portrait; 528- Domenichino, Landscape; 537. Lucas Granach, Lucretia; 544.
Paris Bordone, Annunciation; 564. Fra Bartolomeo, St. Catharine.

On the first floor are casts and modern paintings, and prize-works by
pupils of the Academy and others.

The Biblioteca Comunale (PI. C, 4), Via delle Belle Arti 9,
containing 75,000 vols, and 4971 MSS., was founded in 1663 (open
daily, 10-2, and 5 or 6 to 8). In the 17th cent. Siena possessed
sixteen libraries, and in 1654 even one for women.

The chief objects of interest are: the Greek Gospels, formerly in the
chapel of the imperial palace at Constantinople, of the 11th cent., originally
bound in silk, with pictures in enamel mounted at a later period in
silver-gilt; Treatise on architecture by Francesco di Qiorgio, with sketches
and drawings by the author; Sketch-books of Baldassare Peruzzi and
Oiuliano da Sangallo; letters of St. Catharine.

Beyond the library, to the left, we descend the Via Costa Sant'
Antonio, and enter the first side-street to the right, which leads
straight to the upper entrance of the House of St. Catharine (PI .
B, 4): 'Sponsae Christi Katherine domus'. Visitors ring at the door
to the left (i/2 fr.). St. Catharine of Siena (1347-80), the daughter
of a dyer named Benincasa, took the veil at the age of eight, and
having become celebrated for visions, she prevailed on Pope
Gregory XI. to retransfer the papal throne from Avignon to Rome
(1377). She was canonised in 1461. The best-known vision is that
of her betrothal to the Infant Christ, a favourite theme with painters.
Her festival is on 29th April.

The different rooms in the building have been converted into small
chapels or Oratories, which belong to the Confralernita di Santa Caterina.
Above the altar in one of the Upper Oratories, once a kitchen, is a
portrait of the saint, by Bern. Fungai; the other pictures are by Ventura
Salimbeni and Fr. Vanni. Attention should also be paid to the beautiful
ceiling and the pilasters in the early-Renaissance style (the pavement of
glazed tilea is now covered). — The pretty little court is attributed to Bald.
Peruzzi. — The Oratorio del Crooifisso contains the wonder-working
Crucifixion, a painting (by Giunta Pisano ?) from which St. Catharine,
according to the legend, received the stigmata at Pisa in 1375. — Below
is the Church (key kept by another custodian), containing the following
'Frescoes : Girol. del Pacchia, St. Catharine healing Matteo di Cenni of the
plague; St. Catharine rescuing Dominicans from murderers ; The dead body
of St. Agnes of Montepulciano stretching out her foot to be kissed by
St. Catharine. The fourth picture, representing the saint being attacked
by Florentine soldiers, is by Ventura Salimbeni, 1604. Over the altar,
fine statue of St. Catharine by Neroccio di Bartolomeo, 1465; above, Angel
by Sodoma.

On leaving the church we come to the Via Benincasa (formerly
Via dei Tintori; PL B, C, 5), which is still inhabited, as in ancient
days, by dyers and fullers. Over the door of the house on the left
is a bust of St. Catharine by Cozzarelli. — Not far off is the celebrated
fountain of Fontebranda (PI. B, 5), picturesquely situated at the base
of the hill of San Domenico, mentioned as early as 1081, renovated

in 1198, and c<w<"-°'q ™'fTl - «-*'-'- --1 " of three arches in

od Route 5. SlJfiWA. ouH jJomenico.

1242. — The Via di Fontebranda ascends S.E. to the Via Umbetto
Primo (p. 23).

The Via delle Belle Arti ends at the Piazza Mazzini (PI. B, 4),
near the church of —

San Domenico (PI. B, 4, 5), a lofty brick edifice in the Gothic
style (1293-1391), the massive substructures of which, resting on
the slope of the hill, are now used as a cavalry barrack.

The Interior is destitute of aisles and has a transept and open roof.
Immediately to the right of the entrance is the Cappella delle Volte
(closed), containing an altar-piece of St. Catharine hy Andrea Vanni. —
Farther on, to the right: Tomb of the mathematician Oius. Pianigiani
(d. 1850), by Becheroni. — Third altar: St. Peter the Martyr, by Arccmgelo
Salimbeni, 1579. — The adjacent Chapel or St. Catharine, closed by a railing,
contains the head of the saint preserved in a shrine, by Giov. di Stefano (.146b),
and is adorned with admirable frescoes by Sodoma (1525; best light about
midday ; fee 20-30 c). On the wall near the altar, St. Catharine in ecstasy,
supported by two sisters (the so-called 'Svenimento', or swoon), and an
angel bringing her the host; on the wall to the left, The prayer of the
saint saving the soul of a decapitated culprit; to the right, Healing of
the possessed, by Francesco Vanni, 1593. The two saints on the right and
left of the entrance are by the same master, while the grotesques on the
entrance-arch and the pilasters, together with the charming putti, are the
work of Sodoma. The pavement of the chapel is richly decorated with
graffito representations on marble. — Last altar to the right: Nativity of
Christ by Franc, di Giorgio, executed under the influence of Luca Signorelli;
the lunette is probably by Matteo di Giovanni.

Choir. The beautiful marble "Ciborium at the high-altar, with the
graceful figures of two light-bearing angels, is the work of the Florentine
Benedetto da Mojano. A beautiful view of the lofty and imposing ca-
thedral may be obtained from the window at the back of the high-altar. —
The 2nd Chapel to the left of the high-altar contains to the right: SS.
Barbara, Mary Magdalen, and Catharine, by Matteo di Giovanni, 1479; in
the lunette, an Adoration of the Magi, by the same; to the left, Madonna
with saints, by Benvenuto di Giovanni (1483). 3rd Chapel, Madonna, with
John the Baptist and St. Jerome, by Matteo di Giovanni. — The 2nd Chapel
to the right of the high-altar formerly belonged to the 'German Nation' of
students at the university and contains numerous tombstones of the 16th
.and 17th centuries.

The pretty Viale Curtatone (PI. B, 4, 3) leads to the N. from
the Piazza Mazzini to the Lizza (PI. B, 3), a small promenade,
much frequented on Sun. and Thurs., which was laid out in 1779
near a riding- school. It contains a Monument of Garibaldi, by
Romanelli (1896), and commands good views of San Domenico and
the cathedral. These walks extend as far as the entrance to the
former Forte Santa Bdrbera (PI. A, 3), built by Duke Cosimo I. in
1560, commanding a fine view.

The short Via dei Gazzani leads from the N.E. corner of the
Lizza to the Via di Camollia (PI. C, B, 2, 1), the N. continuation
of the Via Cavour (p. 22). The Via di Campansi, opposite, leads
to the old Convento di Campansi (PI. C, 2; No. 8). The monastery,
now a poorhouse (Ricovero di Mendicith), is adorned with frescoe6
by Matteo Balducci (Assumption; in the cloisters), Sano di Pietro
(Annunciation), Benvenuto di Giovanni (Noli me tangere), and
Beecafumi (Madonna and saints). Handsome baroque church.

Excursions. 51 KIN A. 5. Route. 37

We follow the Via Camollia for some minutes more ; nearly op-
>osite a small piazza we turn to the left under an archway and,
lescending the Via Fontegiusta, arrive at the little church of —

Fontegiusta (PI. B, 2; if closed, ring the bell in the corner
o the right) , belonging to a brotherhood and built by Francesco
?edeli of Como in the early Renaissance style in 1484-89. Above
he entrance (outside) is a small relief of the Madonna by Neroccio
It Sartolomeo (1489). The vaulting, borne by four marble col-
imns, dates from 1482; the N. portal from 1489. The beautiful
High Altar by Lor. di Mariano (1509-19) is one of the finest
Renaissance sculptures of its kind. The bronze holy-water basin is
i)y Oiov. delle Bombarde (1430). The 3rd altar to the right has a
Coronation of the Madonna by Bern. Fungai; the 2nd to the left
a fine fresco (freely restored) by B. Peruzzi, the Sibyl announcing
to Augustus the Nativity of Christ (ca. 1528). Over the entrance
are a sword, helmet, shield, and some bones of a whale, said to
have been presented by Columbus.

Farther on in the Via Camollia, to the right , No. 48, opposite
the small Templar church of San Pietro alia Magione (PI. B, 1 ;
fine early -Renaissance facade), is the modest house of Baldassare
Peruzzi (p. 22), indicated by an inscription.

A pleasant Walk may be taken by a road skirting the town
walls to the right, outside the Porta Camollia (PI. B, 1), with fine
views of the Tuscan hills. On a height opposite, beyond the railway
station, lies the monastery of Osservanza (see below) ; in the valley
below, alittle short of the Porta Ovile (PI. D, 3), is the picturesque
Fonte Ovile, in the Gothic style. In about 8/4 hr. we reach the Porta
Pispini (comp. PL F, 6; p. 32).

Not far from the Porta Camollia, near the Piazza d'Armi (PL A, 1),
is a column commemorating the meeting of the Emp. Frederick III.
with Queen Eleanor of Portugal (comp. p. 28). — About 3/4 M.
beyond the Porta Camollia stands the Palazzo del Turco, generally
known as the Pal. dei Diavoli, a fine brick building, with a chapel,
'a jewel of the early-Renaissance' (Burckhardt), by Ant. Federighi
(1460). Near by is the Eden Restaurant (p. 19).

Excursions (most of them best made by carriage). — About IV2 M.
(carr. there and back 6 fr.) to the N.E. of the Porta Ovile is situated the
suppressed Franciscan Convento dell' Osservanza (IOoO ft.). The road
keeps to the left at the fork immediately before reaching the railway to
Chiusi, passes under the line, and ascends straight on. The monastery-
church, founded by San Bernardino in 1423 and enlarged by Giac.
Cozzarelli in 1485, is a noteworthy early-Renaisfance work; its arches and
vaults are adorned with terracotta, reliefs by Francesco di Giorgio. At the
2nd altar on the left is a fine Coronation of the Virgin, by Andrea della
Robbia. On the 1st and 3rd altars on the left are good examples of Sano
ii Pietro; the predella of the 4th altar is also by him, the main painting
by Taddeo di Bartolo. Beneath the high-altar is preserved the silver
reliquary of San Bernardino, by Francesco oVAntowo (1460) In the choir,
88. Bernardino and Elizabeth, by Pietro di Giovanni (1439). In the sacristy,
an excellent terracotta group (PietaK bv Ginc. P.ozzarelli. Beneath the

38 Route 5. DJjMTrt.. .^mrsions.

church is a vault with the cell of San Bernardino and the tomb ofPandolfo
Petrucci (d. 1512; p. 21).

The Certosa di Pontignano (carr. there and hack 12 fi\), 5 II. from
the Porta Ovile, was founded in 1343, fortified in 1383, and suppressed
in 1810. The church was modernised in the 17th century. View from
beside the Parocchia.

Santa Colomba, Gelsa, and Marmoraia are most conveniently visited
on horseback; there and back, with stay, 5J/2 hrs. ; horse 7 fr.; one-horse
carriage (carrozzino) 15 fr. For larger carriages the road is good only as far
as Santa Colomba (15 fr.). — Leaving the Porta Camollia and passing the
Palazzo del Tnrco (p. 37), we follow the highroad for 2'/2 M. and then
diverge to the left by the road descending between two cypresses into
the valley. This road leads past (halfway) the Piano del Logo, a dried-up
lake, probably formed by a subsidence of the soil, and brings us to the
villa Santa Colomba (4'/2 M.), formerly the property of the Collegio Tolomei
(p. 30), with a handsome spiral staircase attributed to Bald. Peruzzi (?}, and
a fine view from the balcony. — After descending from Santa Colomba we
continue to follow the road by which we arrived, which leads through
beautiful woods to Celsa (33/t M. from Santa Colomba), a castellated villa,
designed by Bald. Peruzzi, where Mino Celsi, a defender of the doctrines
of Luther, lived at the beginning of the loth century. View from the
highest story (refreshments sold by the fattore of the villa). — About
2'/4 M. beyond Celsa is Marmoraia, where on 7th Sept., 1187, peace was
concluded between the Republic of Siena and Bishop Hugo of Volterra.
The piazza in front of the church affords a fine view of the Elsa valley and
Colle di Val d'Elsa, with San Gimignano bevond and A'olterra in the
distance (N.E.). — The Poggio degli Alberelli (2075 ft.), from the lop of
which the sea and the Apuan Alps are visible, may be ascended from
Marmoraia in lfa hour.

The Abbazia di Sant1 Eugenio, 2'/4 M. to the S. of the Porta San Marco,
commonly known as II Monastero , is an ancient Benedictine monastery
said to have been founded by Warnfried, a Longobard, in 730, fortified in
1553 by Pietro Strozzi, and secularised in the 18th century. The buildings
are thoroughly modernised. The church contains several pictures (some
of which have been ruined by restoration) of the Sienese School.
View from the garden. The return should be made through the Porta
Fontebranda.

The highroad next leads to the Osteria delle Volte, about 5M. beyond the
Porta San Marco, whence a road diverges to the right to the (l]/4 M.)
ancient church of San Giovanni di Ponte alio Spino, dating from the first
half of the 11th cent., and to (4 M.) Cetinale, a villa erected in 1680 by
Flavio Chigi, a nephew of Pope Alexander VII., from designs by Carlo
Fontana. With the villa is connected the 'Thebais1 park, embellished with
sculptures and containing fine old timber. View from the hill ('Romitorio')
above the villa. Permessi in the Palazzo Chigi at Siena, Via di Citta. —
Carr. from Siena to Cetinale and back, 14 fr.

About 4]/2 M. beyond the Osteria delle Volte is Rosia, the church of
which contains a font of 1332. We may then proceed to (2 M.) Torri or
Santa Musliola a Torri in Val di Merse, an old monastery belonging to the
Vallombrosians, possessing a church, consecrated in 1189, and a fine
Romanesque cloister, now used as farm-buildings.

About 9 M. to the S.W. of Rosia (along the road to Massa Marittima,
and then to the left) lie the ruins of the Cistercian monastery of San
G-algano, founded in 1201 by Ildebrando Pannocchieschi, Bishop of Volterra.
The Gothic 'Church, a building of travertine and brick, erected in 1240-68,
is imposing even in its ruins. The only relics of the original architecture
in the secular buildings, now used as a farm, consist of a few windows.
The monks were distributed among other monasteries in 1652. and in 1781
the church, which had been injured by lightning, was closed.

The chateau of Belcaro, to the W. of Porta Fontebranda, reached by
carriage (8 fr.)in li/4hr., commands a splendid view of Siena and its envi-

WTk. Of ji-ygTO "Bfl'GGIORE. 6. Route. 39

rons. It was begun by Bald. Peruzzi for the Turamini family on the site
of a mediaeval castle , and was modernised in the 19th century. On
the groundfloor is a ceiling-painting by Peruzzi: Judgment of Paris. The
frescoes in the chapel, by the same master, have been sadly injured by
restoration.

6. From Siena to Chiusi.

55 M. Bail way in 23/4-4'/2 hri. ; fares 10 fr. 25, 7 fr. 15, 4 fr. 60 c. —
No express trains.

Siena (p. 19) is a terminal station. The train returns part of the
way to Empoli and then diverges at an acute angle towards the S.E.
AVe traverse the hills which form the watershed between the Ombrone
and the valley of the Chiana. — 5V2 M. Arbia.

About 2 M. to the N.E. lies Stmt Ansano a Ddfana, the parish church
of which contains a Madonna by Bald. Peruzzi, to whom also is due the
brick erection of the Martirio di Sant' Aniano (key at the parsonage). A
pyramid surrounded by cypresses on the opposite (E.) ridge of hills marks
the site of the castle of Monte Aperto, whence Farinata degli Uberti (p. 2U
issued to the battle of 1260.

10 M. Castelnuovo Berardenga, in a bleak district of barren clay-
Mils, deeply furrowed by rain-courses.

191/2 M. Asciano ; the pleasant little town (656 ft. ; Alb. del Sole,
clean and comfortable; 3620 inhab.), IV2M. to the right of the station,
possesses fortifications constructed by the Sienese in 1351, a hand-
some fountain, and several old churches. The church of San Fran-
cetco contains a tasteful font, a painted terracotta altar-piece with
SS. Raphael and Christopher, of the school of the Robbia, and a Ma-
donna by Lippo Memmi. In the Collegiata are a Birth of the Virgin
by Sassetta, an Ascension by Giovanni di Paolo, with wings by
Matteo di Giovanni, and frescoes by Taddeo di Bartolo. In SanSe-
iastiano is a fresco by Benvenuto di Giovanni. The altar-piece of
Sant'Agostino is by Dornenico di Bartolo (1437).

Asciano is a convenient starting-point for a visit to the famous.,
but now suppressed, Benedictine convent of *Monte Oliveto Mag-
giore (6M.; carriages at the station, at Bucciarelli's, or the Alb.
del Sole, 8-10 fr. ; the bargain with the driver should be made in
the presence of the landlord as witness; a drive of 2 hrs. by the
highroad, or ll/% hr. by the picturesque direct route suitable for light
vehicles only).

Visitors who desire to spend the night at the convent must apply-
beforehand to the 'Ispettore' of the Accademia delle Belle Arti at Siena (p. 33),
from whom they receive a 'permesso' to present to the 'Sopraintendente
del gia Arcicenobio di Monte Oliveto Maggiore'. Those who have not time
to send this two days in advance should provide themselves with provisions
for one day. Ordinary visitors are not allowed to stay more than two days
at the convent (pens. 5 fr.).

The convent, founded in 1320 by Bernardo Tolomei and afterwards
greatly enriched by donations, still affords an excellent idea of a great
establishment of the kind. The monks must have been wonderfully
energetic to have been able to transform the sterile chalk-soil here into
a smiling oasis. jEneas Sylvius Piccolomini (Pins II. ; p. 28) gives an
interesting description of the monastery in his 'Cominentaria\

Route 6. MONTALCINO. trom Siena

Over the entrance are glazed terracotta groups of the Madonna with
angels and St. Benedict in the act of Messing.

The walls of the large Monastery Cockt are adorned with celebrated
•Frescoes by Luca Signorelli (1497-98) and Ant. Bazzi, called Sodoma (1505),
representing scenes from the legend of St. Benedict, explained by in-
scriptions beneath the paintings. The order of the pictures does not cor-
respond with the date of their execution. The series begins with the first
picture on the wall adjoining the entrance to the church, representing St.
Benedict's departure from home, by Sodoma. The earliest part of the series
are the eight frescoes by Signorelli, on the wall to the left of the entrance:
Totila kneeling to the saint; Soldier in disguise, attempting to deceive
the saint ; Temptation of the fasting monk ; Punishment of two monks
addicted to dainties ; Resuscitation of a dead man whom Satan has thrown
from a wall; Exorcism of Satan; Overthrow of the idol; Punishment of
Florentius. — The 'Sending Forth of Missionaries', on the left of the corner
to the right, is by Riccio, a pupil of Sodoma, but all the other pictures are
by Sodoma, whose sense of beauty is everywhere apparent, though he is
doubtless far inferior to Signorelli in depth and excellence of conception and
execution. In the first pictures by Sodoma we can trace a resemblance to
the frescoes of Pinturicehio in the Cathedral library at Siena, and in the
otiiers, features that recall Leonardo da Vinci. — The Church (entrance to
the left of the monastery-court), which was modernised in the 18th century,
contains little to detain us beyond the handsome choir-stalls and reading
desk, in inlaid work, by Fra Giov. da Verona (1503). The marble statue of
the Virgin in the vestibule is also by Giov. da Verona. — In the Libkeeia
are a door and a cabinet, also beautifully inlaid by the same master (1502).

— The Chapter House and some of the other rooms contain frescoes by
Antonio da Bologna and by Novello of Naples. — The extensive stables (much
altered) at the back of the monastery contained different sections bearing
tablets with the names of the chief towns of Italy.

The Emperor Henry VII. died in 1313 at Buonconvenlo, 4'/z M. to the
S.W., on the Arbia. The churches contain a few ancient pictures of the
Sienese School.

From Asciano to Grosseto, 60 M., branch-line in 3-4!/4 hrs. (fares
11 fr. 15, 7 fr. 80, 5 fr. 5 c). — 8 M. San Giovanni d'Asso (tolerable inn). The
Canonica contains six small and ancient paintings of the Sienese School. Mte.
Oliveto is reached hence on foot in IV2 hr. or (better) by carriage (p. 39).

— 14 M. Torrenieri (804 ft.), on the old road from Siena and Buonconvento
(see above), via, San Quirico, Radicofani, and Bolsena (p. 93), to Rome.

[About 5!/2 M. to the S.W. of Torrenieri (omnibus twice daily, fare
IV2 fr.) lies Montalcino (1676 ft. ; Albergo del Giglio, tolerable), a town
(4872 inhab.) which early in the middle ages belonged to the abbey of Sant'
Antimo (see below), and afterwards to Siena. In the Palazzo Municipale
is the Cappella delle Carceri, which contains a small collection of pictures
from suppressed monasteries, including a Descent from the Cross (1382)
and a Coronation of the Virgin (1388) by Bartolo di Fredi. The Cathedral
was begun in 1818. The Franciscan Monastery is now a hospital. Over
the chief entrance of the church belonging to it is a group of the Madonna,
John the Baptist, St. Peter, and St. Sebastian, of the school of Delia Robbia
(1507). A room adjoining the sacristy is adorned with frescoes of the latter
part of the 15th cent., and the monastery-court contains others dating from
1438. Fine view from the modern church of the Madonna, on the E. side
of the town. — The railway-station of Monte Amiata (p. 41) ]ies about
8 M. to the S.E. of Montalcino. To the N. (i/4 M.) of Castelnuovo deW Abbate,
within about 2'/2 M. of Monte Amiata, is SanC Antimo, which was an in-
dependent abbey down to the 13th century. The handsome church was
built of white alabaster and travertine in the 11th cent., and its rich portal
dates from 1292.

About 4 M. to the S.E. of Torrenieri (diligence twice daily in l'A hr.,
fare l'/2fr ) lies San Quirico d'Orcia (Albergo della Lepre, tolerable, bargain-
ing advisable), which was the residence of an imperial governor during the

to Chiusi. MUM'E AMJATA. 6. Route. 41

Hohenstaufen regime and was fortified by Siena in 1472. The handsome
Collegiate Church, in an elegant Transition style, was founded in the 8th
cent., but the present building dates from the 12th. Of the ornate porches
the oldest is on the W. front; another, on the right transept, bears the date
1298; and a third, specially fine, on the right aisle, is Gothic with Renais-
sance forms. The interior was disfigured in the 17th cent. ; choir-stalls
of the 16th century. The adjacent Misericordia church contains a high-
altar-piece by Sodoma. The Palazzo Chigi, erected in 1685-87, and the
Orti Leonini, a neglected park of the 16th cent., deserve a visit (keys of both
at the Fattoria Chigi). — From San Quirico to Pienza (p. 43) 4'/i M. ;
diligence once daily in 2, returning in 1 hr. ; fare 50 c.].

21 M. (from Asciano) Monte Amiata, the starting-point for a visit to
the mountain of that name, the highest in Tuscany, lies 2'/s M. to the S.E.
of Castelnuovo dell'Abbate (p. 40). — [By omnibus (iy2 fr.) in 23/4 hrs.
to Castel del Piano (Locanda Amiatina, mediocre), where a guide may be
obtained at the Municipio; thence on horseback in 33/4 hrs., or on foot in
4'/2hrs., to the summit of the "Monte Amiata (5688 ft.), which affords an
admirable survey of the whole country between the Tyrrhenian Sea, the
Apennines, and the Ciminian Forest (p. 101). The dome-shaped mountain is
an extinct volcano, which as late as the tertiary epoch was still surrounded
by the sea. It is of trachyte formation, and not far off (at Radicofani, T/2 M.
to the E.) imposing masses of basaltic rock also occur. Cinnabar and quick-
silver, both volcanic products, are worked in the neighbourhood and are still
deposited in the numerous sulphur springs. — A pleasant return-route leads
through beautiful woods to (2 hrs.) Vivo (2385 ft.), a suppressed Camaldulens-
ian monastery, now the property of Count Cervini. Hence to stat. Monte
Amiata 11 M., or to Torrenieri 17 M. The latter road leads via, Castiglione
d'Orcia, the hot Bathi of Vignoni, now neglected, and San Quirico d' Orcia].

— The road from Monte Amiata station to Castel del Piano continues
towards the S. past (H/4 M.) Arcidosso (2168 ft.) to (blfa M.) Santa Fiora
(2253 ft.), prettily situated at the S.W. foot of Monte Amiata, with a church
containing an altar-piece by Andrea della Bobbia (Madonna della Cintola).

28 M. SanC Angelo Cinigiano. The train follows the right bank of the
Orcia, the S. affluent of the Ombrone, and crosses the latter. — 31>/2 M.
Monte Antico. At (3672 M.) Paganico the train quits the Ombrone. 42 M.
Roccaitrada ; the village, on a trachyte eminence (1565 ft.), lies 5 M. to
the N. ; 47 M. Sticciano. 52 M. Montepescali, on the Maremme Railway (p. 4).

23 M. Rapolano. The village, to the right, possesses baths. The
country becomes more attractive. — 31 M. Lucignano ; the mediaeval
village lies on the hill (1935 ft.), 3 M. to the N.B. The improving
cultivation of the soil indicates the proximity of the charming valley
of the Chiana. To the left, in the distance, the chain of the Apennines.

— 35 M. Sinalunga; on the right the village, where Garibaldi was
captured on his march to Rome, 24th Sept., 1867. — 38Y2 M. Torrita.
Montepulciano becomes visible to the right.

43 '/2 M. Montepulciano (850 ft.); the station is 6 M. from the
town (omnibus in iy2 hr. , fare H/2 *'*•)• Near the station is a sugar-
refinery.

Montepulciano. — Hotel. Albeego Marzocoo, Via Garibaldi, B..
l'/2-2 fr., good; the view from the back-rooms extends to Lake Trasimene.

— Caffi Poliziano, Via Cavour 2. — The Wine of Montepulciano is justly
celebrated. The red wine is strong and somewhat rough. ' Vino santo' is a
sweet white wine (2 fr. per bottle). Vermouth is a white wine flavoured with
fragrant herbs and wormwood.

Montepulciano (1984 ft.), a picturesque town with 6288 inhab.,

surrounded by mediaeval walls, lies coriRmGnou.elyon a height belong-

42 Route 6. aiviyithrvijyjiAi-tu. ±,om Siena

ing to the Monte Cetona range (p. 44). It -was the birthplace of the
scholar and poet Angelo Ambrogini (1454-94), surnamed Politianus
after his native place ('Respublica Politiana'), the friend of Lorenzo il
Magniflco and preceptor of his children. Cardinal Roberto Bellarmin
(1542-1621), the strenuous opponent of the Reformation, was also
born here. The situation as well as the monuments of the place
repay a visit. The sights may be inspected in 4-5 hours.

At the beginning of the main street, the Via Garibaldi, where
the omnibus stops, is a column bearing a heraldic lion (Marzocco).
No. 32, on the left, is the Palazzo Tarugi, built by Vignola. Oppo-
site, Nos. 35-37, Palazzo Avignanesi, dating from the latter half of
the 16th century. Then, also on the right, No. 29, the Palazzo
Buccelli, with Etruscan urn- reliefs and inscriptions huilt into the
walls, and Sant'Agostino, distinguished by a fine Renaissance facade
(finished in 1509), with curious touches of Gothic. In the tym-
panum above the main portal is a relief of the Madonna with John
the Baptist and St. Augustine. — The street now assumes the
name Via Cavour. On the right is the Mercato (market-halls) by
Vignola , and on the left the round Chiesa del Gesu , with florid
baroque ornamentation (1714) and an unfinished facade. — The
continuation of the street is called Via Poliziano ; on the left, No. 1,
is the house in which Angelo Poliziano was born, a brick building of
the 14th cent., with several inscriptions.

We next reach the Piazzetta di Santa Mama, with the small
church of Santa Maria (handsome portal of the 13th cent.), which
commands an admirable view. — A road hence descends to the
right, past the old cemetery, in 10 min. to the —

*Madonna di San Biagio (1620 ft.), in the valley, designed by
Antonio da Sangallo the Elder and built in 1518-37 on the site of an
old church of St. Blasius. The church consists of an imposing cantial
edifice, showing the influence of Bramante's design for St. Peter's
(p. 320). The towers are detached from the church, the unfinished
S. tower not rising higher than the first story. The maTble decoration
of the high -altar, by Giovanozzo and Lisandro Albertini, dates
from 1584.

In the square beside the church is Sangallo's House (1518),
with a loggia of two stories. A street to the right of the house leads
back to the town in ahout l/4 hr. ; to the left, near the gate (en-
trance in the Via Poggiolo) is the Oratorio della Misericordia, which
contains a God the Father with angels, above the high-altar, and an
Annunciation of the school of the Della Robbia

The Via Ricci (on the left the Palazzo Bombagli, a Gothic brick
building, now a court of assize) ascends hence to the Piazza Vittorio
Emanublb (formerly Piazza Grande), iu which rises the cathedral
and several sumptuous mansions. To the left is the Palazzo Nobile,
by Ant. da Sangallo the Elder, and adjoining is the Palazzo Contucci
or del Monte, designed by the same architect but finished by Peruzzi,

to Chiusi. MJKN/5A-. 6. Route. 43

In the centre stands a Memorial Fountain, with bronze medallions
of Victor Emmanuel I., Cavour, Garibaldi, and Mazzini (1894).

The Palazzo Municipals (14th cent.) contains a few pictures
and the municipal library.

Ante-chamber of first floor: Madonna, John the Baptist, and saints, of
the school of Delia Robbia. — Picture Gallert on the second floor :
Matleo da Siena (?), Madonna; 9. Seb. del I'iombo (?), Pope Pan] III. (or
more probably Rob. Bellarmin); 80. Pacchiarotto, Madonna; 86. Umbrian
School (ascribed to Eaphael), Fine portrait of a lady.

On application to the 'custode' of the Palazzo Municipale visitors
are admitted to the hall of the Prefetlura, adjoining the Palazzo
Nobili (p. 42), which contains an altar-piece by Delia Robbia (Coro-
nation of the Virgin).

On the "W. of the piazza is the Cathedral, built by Bart. Am-
manati and Ippol. Scalza and restored in 1888 (facade unfinished).

In the Interior, over the high-altar, are the Death, Assumption,
and Coronation of the Madonna by Taddeo di Bartolo. The church was
once adorned with an imposing monument to Bartolomeo Aragazzi, secre-
tary of Pope Martin V., erected in 1427-36 by the famous architect Miche-
lozzo. It was taken down, however, during the 18th century, when several
parts of it were lost. Among those preserved are: to the left of the
principal entrance, the recumbent statue of the deceased (or of his father) ;
by the two first pillars, two allegorical reliefs; in the right transept, Christ
bestowing a blessing; by the high-altar, marble group of cherubs with
garlands, forming the base of the monument. A sketch in the sacristy
shows the original form of the monument.

From Montepulciano to Pienza, about 9M., diligence once daily in
2'/2hrs., fare l'/z fr. (one-horse carr. there and back 10, two-horse 20 fr.).
Comp. p. 41.

Fienza (1610 ft. ; Locanda Lelhia), a small town with about 2730inhab.,
was originally called Corsignano, but subsequently named the 'town of Pius'
after Pius II. (jEneas Sylvius Piccolomini, p. 28), who was born here
in 1405, and adorned the town with very handsome buildings, chiefly
designed by the Florentine Bernardo Rossellino. As all these buildings
date from about the same period (1460) and are situated in the same piazza
(del Duomo), they afford a more compact survey of early-Renaissance
architecture than is to be obtained in most Italian towns. The chief
edifices are the Cathedral (see below) ; to the right of it the Episcopio
or episcopal palace ; opposite the cathedral the Palazzo Pubblico, with a
colonnade; to the right the finest of all, the Palazzo Piccolomini , which
like the Palazzo Rucellai at Florence exhibits the rustica style in com-
bination with pilasters (handsome court and colonnade and interesting
traces of old frescoes); in front of the palace is a charming Fountain of
1462. — The right transept of the Cathedral (recently restored) contains a
Madonna with four saints by Matteo di Giovanni of Siena; the choir-stalls,
carved in the Gothic style, date from 1462; in the chapel to the left of
the high-altar is an Assumption of the Virgin by Vecchietta; in the left
transept a Madonna and four saints by Sano di Pietro. The font is a
Renaissance work. The choir-books are richly adorned with miniatures.
— The Museum, adjoining the cathedral, contains ecclesiastical vestments,
including those of Pius II., and Alexander Piccolomini, one of which is of
Flemish, the other of Italian workmanship; a large Madonna by Bartolo
di Fredi (1364); the mitre of Pius II., adorned with pearls and enamelling;
old tapestry (including some German and Flemish pieces of the 14-15th cent.) ;
cruc'fix, richly carved; silver-gilt crozier with niello decoration; a Pax
vobiscum ; a silver censer in the Gothic style. — A walk round the town-
wall takes 12 minutes. — The church of Sant Anna in Camprena, 23/t M.
from Pienza, contains frescoes by Sodoma.

44 Route 7. ^^, v^v,,.^,^.

Dbive fbom Moniepuloiano to Chiusi, a very attractive excursion
(ca. 31/2 hrs.; one-horse carr. 16 fr.). Beyond the Madonna di San Biagio
(p. 42) the road passes the ('/2 hr.) sulphur-springs of SanV Aloino (1565 ft.),
and leads through ('/z hr.) Chianciano (see below), (l'/t hr.) Sarteano (p. 88),
and (i/s hr.) Cetona (p. 88).

Continuation of Jotjenby. To the right we soon observe the
Monte Cetona (3i60ft.), a secondary chain of the Apennines. To
the left stretches the Lake of Montepulciano (815 ft.), beyond which
is the Lake of Chiusi (825 ft.), connected with the other by a oanal.
The district is unhealthy in summer.

49 M. Chianciano; the village (1500 ft.), frequented in summer
for its mineral springs , lies 4^2 M. to the W. — 55 M. Chiusi,
see p. 86.

7. From Florence to Perugia via Arezzo, Cortona,
and Terontola (Chiusi- Rome).

103 M. Railway. Express (slow beyond Terontola) in frfc-b1/! hrs.
(fares 20 fr. 60, 14 fr. 40, 9 fr. 35 c); ordinarv trains in 61/4-7 hrs. (fares
19 fr. 15, 13 fr. 40, 8 fr. 65 c). — To Arezzo, 541/2 M., in l'/2-4 hrs. (fares
11 fr. 25, 7fr. 90, 5 fr. 15 c, or 10 fr. 25, 7 fr. 15, 4 fr. 60 c); thence to
Cortona, 17i/2 M., in 1/2-I hr. (fares 3 fr. 25, 2 fr. 30, 1 fr. 50 c). — Those
who wish to see Arezzo and Cortona and arrive at Perugia in one day,
had better leave Florence in the afternoon or evening and sleep at Arezzo.

The Express to Rome quits the Perugia line at Terontola (see R. 11),
where passengers for Perugia generally change carriages. — Best views
to the left.

Florence, see Baedeker s Northern Italy. — The train describes a
curve round the town to (3 M.) Campo di Marte. It then runs
along the N. bank of the Arno. Fiesole is seen on the height to
the left. The valley contracts before reaching (8 M.) Compiobbi.
13 M. Pontassieve, at the influx of the Sieve into the Arno (dilig-
ence to Forli, see p. 108). — 16 M. Sanf Ellero (hence to Vallom-
brosa by the rack-and-pinion railway , see Baedeker's Northern
Italy). — We obtain a line view to the left. The line curves to
the S. and enters the valley of the middle Arno, passing through
a short tunnel and then crossing to the left bank. From (18 M.)
Rignano a pleasant excursion (a drive of 3/4 hr.) may be made to
the line Villa Sanmezzano, belonging to Marchese Panciatichi of
Florence. The train passes through another tunnel and reaches
(22y2 M.) Incisa, with a conspicuous castle. The river forces its
way here through the limestone rock, whence the name of the vil-
lage. 25!/2 M. Figline. The valley of the Arno near Figline, Monte-
varchi, and Arezzo, is very interesting to palaeontologists owing to
the numerous fossil bones of the deer, elephant, rhinoceros, masto-
don, hippopotamus, hy;ena, tiger, bear, etc., which have been found
here. This basin seems to have once been filled with a fresh-
water lake.

30 M. San Giovanni Valdarno, a small town to the left the
birthplace of the famous painter Masaccio (1401-28) and of Oiov.

Wigur *De"b«,I«f>>!

AREAZU. 7. Route. 45

da San Giovanni, sumamed Manozzi (1590-1636). The Cathedral
contains pictures by the latter: Beheading of John the Baptist,
Annunciation, etc. The sacristy of Santa Maria delle Grazie, on
the old town-wall, contains a Madonna, once ascribed to Masaccio,
and other old paintings.

33'/2 M. Montevarchi (342 ft. ; Locanda d' Italia , in the main
street), with 5296 inhabitants. The loggia of the principal church
in the piazza is embellished with an elahorate relief by Delia Robbia.
The Accademia Val d'Arnese contains a valuable collection of fossil
bones (see p. 44).

The train ascends, passing through three tunnels, to (38 M.)
Bucine, a village on a hill to the right. Four more tunnels. 41 M.
Laterina ; 44'^ M. Ponticino (840 ft.). The train now gradually
ascends across the plain of Arezzo, which was formed by alluvial
deposits, to (54y2 M.) Arezzo.

Arezzo. — Hotels. "Inghilteeea (PI. a; B, 4), Piazza TJmberto
Primo 1, with electric lieht and restaurant, R. 3-5, B. 1, omn. 1 fr. ;
Vittoria (PI. b ; C, 4), Via Cavour 4 ; La Stella (PI. c ; D, 5), Corso Vittorio
Emanuele 67, R. & L. l'/2 fr- ; Italia, Piazza del Popolo, at the corner of
the Via Guido Monaco ; Globo (PI. d ; C, 4), Corso Vittorio Emanuele,
mode't but well spoken of. — Caffi dei Costanli. Piazza TJniberto Primo.

Cabs. Per drive 1 fr. (between 1 and 6 a.m. V/z fr ); per hr. 2 fr., eacli
addit. ]/z hr. 75 c. Small luggage free, each trunk 20-50 c.

Theatres. Teatro Petrarca (P1.B,4), near the Piazza TJmberto Primo;
Politeania Aretino (PI. A, 5), near the station. — Photographs at Boncompagni's.
— Post Office (PI. B, 3), Piazza Principe Amadeo.

Arezzo (840-970 ft.), the ancient Arretium, the seat of a bishop
and a prefect, is a clean and pleasant town with 16,451 inhab.,
situated on the slope of a hill, in a beautiful and fertile district,
abounding in historical reminiscences. A rapid visit to the sights
occupies */2 day.

Arretium, one of the twelve confederate cities of Etruria, sought the.
help of Rome against the Gauls at the opening of the 3rd cent, and was
an important ally of the Romans in the war with Hannibal. After the
civil war (82 B.C.) Arretium received a Roman colony, which was restored
in the time of Csesar (Colonia Fidens Iulia Arretium). Its manufactures
were red terracotta vases, of superior quality, and weapons. — In the
middle ages the town suffered greatly from the Goths and the Longobards,
and at a later date from the party-struggles of the Guelphs and Ghibellines.
As leader of the Tuscan Ghibellines at the bloody battle of Campaldino,
in 1289, in which Dante also fought, it succumbed to Florence, then re-
presentative of the Guelph party. In the 14th cent, it was for a time
subiect to the rule of the Tarlati (p. 47), and in 1337 temporarily, and in
1384 finally to that of Florence.

Arezzo is the birthplace of many distinguished men , of whom may
be mentioned: Caius Cilnius Maecenas (d. 9 A.D.), the friend of Augustus
and patron of Virgil and Horace; the Benedictine monk Guido Aretino
or Guido Monaco (ca. 990-1050), the inventor of the modern system of
musical notation (who, however, is said by other authorities to have been
born near Paris); Francesco Petrarca, the greatest lyric poet of Italy, born
of Florentine parents in 1304 (comp. p. 47; d. 1374); Pielro Aretino, the
satirist (1492-1556). — Arezzo has also produced several artists : Margherilone
(1236 M313), a painter and sculptor of no great importance ; Spinello Aretino
(ca. 1333-1410), an able pupil of Giotto, whose style he steadily followed

46 Route 7. akuaav. crum Florence

and rendered popular (his best works are in San Miniato near Florence,
in the Campo Sanvo at Pisa, and in Hie Palazzo Comunale in Siena); at
a later period Giorgio Vasari (1512-74), the painter, architect, and bio-
grapher of artists. The town, however, never possessed a school of its
own. Its requirements in the province of art, which were at their height
in the 13-14th cent., were fulfilled by Florentine and Sienese masters, and
Giotto, Lippo Jlemmi, Pietro Lorenzetti, and others were employed here.

Leafing the station (PI. A, 5), we follow the Via Guido Mo-
naco, which leads straight into the heart of the town. In the Piazza.
Guido Monaco (PI. B, 4) is a statue of Guido Monaco (p. 45), by
Salvini, erected in 1882. In the Piazza del Popolo, to the left, is a
column erected in 1880 to commemorate the Italian struggles for
independence.

A little farther on the Via Guido Monaco ends in the Via
Cavour. Here, in the small Piazza Umbbrto Pebio (PI. B, C, 4), is
a Monument to Count Fossombroni (PI. 1), a native of Arezzo (1754-
1844; comp. p. 50).

The church of San Francesco (PI. B, 0, 4), founded in 1322,
at the corner of the piazza, contains fine frescoes of the 15th century.

On the entrance-wall is a fresco representing Christ at table with Mary
Magdalen, by Spinello Arelino. The wheel-window, by Quillaume de Mar-
cillat (1520), represents St. Francis receiving the rules for his order. — The
Chapel of St. Anthony of Padua, to the left, contains frescoes by Lorentino
d'Arezzo, sadly injured. At the end of the left wall is the tomb of Antonio
Roselli (d. 1467), by a Florentine artist. — At the end of the wall on the
right is an Annunciation by Spinello Arelino (c. 1385).

In the Choik: "Frescoes (some of them much damaged) by Piero delta
Francesca (ca. 1451), the master of Luca Signorelli (best light about midday
and in the evening). They represent scenes from the legend of the Holy
Cross: Death and Burial of Adam, on whose grave a seed of the tree of
knowledge grows up to be a tree ; the Queen of Sheba discovers the origin
of the wood of a bridge built by Solomon, and afterwards used for mak-
ing the Holy Cross; Her reception by Solomon ; Beam removed from the
bridge at command of Solomon; Search for the Cross in a stream; St. He-
lena finds three crosses and detects the genuine one by putting it to the
test; Cross brought to Jerusalem; Emp. Heraclius rescues the Cross in a
battle with Chosroes, the Persian; Angel promising the sleeping Constan-
tine victory in the sign of the Cross ; Victory of Constantine over Maxen-
tius (p. 384). All these scenes are portrayed by Piero with great
technical skill, in which respect, as well as in his appreciation of the
nude, he surpassed all his contemporaries. His pictures, however, are
stiff and destitute of gracefulness. — The Evangelists on the ceiling
have been attributed to Bicci di Lorenzo. — The chamber at the bottom
of the tower, entered from the choir, also contains important frescoes by
Spinello Arelino: Christ enthroned, St. Michael overcoming the dragon,
and St. Michael appearing to Gregory the Great above the tomb of Hadrian
(castle of Sant' Angelo) during the plague at Rome ; opposite, Gregory
distributing alms, St. ^Egidius hunting, the Mass of St. Gregory.

Following the Via Cavour to the S.E., and then ascending the
Corso Vittorio Emanuele to the left, we observe on the right the
interesting church of —

Santa Maria della Pieve (PI. 0, 4), founded at the beginning of
the 11th cent., which retains the original choir (restored), seen from
the Piazza Vasari. The tower and facade were added by Marchionne in
1216, but the latter was left unfinished till 1330. Above the main

to Perugia. ITRKZZU. 7. Route. 47

portal are a Madonna between angels, and figures of the months ;
and at the door to the right is a Baptism of Christ, of 1221. The in-
terior consists of a nave and aisles with a broad apse, a crypt, and
an open wooden roof above the crossing, all restored in the ancient
style. On the entrance- wall is an alto-relief of the Adoration of the
Child (11th rent.). The font in front (left) is perhaps of the same
date. On the pillar to the left in front of the choir is a painting
from the studio of Giotto (SS. Francis and Dominic). Behind the
high-altar are a fine Madonna and saints, Annunciation, and other
works by Pietro Lorenzetti of Siena (1320).

At the back of the church is the picturesque Piazza Vasari
(PI. D, 4), with a fountain and a Monument of Grand-Duke Ferdi-
nand III. (PI. 3), erected in 1822. On the N. side are the Logge
(PI. D, 4) built by Vasari in 1573. — Near the choir of Santa Maria
della Pieve n the building of the Fraternith delta Misericordia (PI. 4 ;
D, 4), now occupied by the law-courts, with a handsome facade,
begun by Florentine artists in the Gothic style in 1375, and com-
pleted in the Renaissance style by Bernardo Rossellino and adorned
with a Madonna (in the lunette above the portal) in 1433-36.

Passing under Vasari's Logge we now return to the Corso,
which we reach just opposite the Palazzo Pubblico (PL C, 3). This
edifice, built in 1322, and adorned with armorial bearings of the
ancient Podesta, is now used as a prison. In the Viadegli Albergotti,
diverging to the left, is Cavaliere Vincenzo Funghini's Museum of
porcelain, majolica, etc. (No. 3; interesting; adm. courteously granted
on application).

A little farther on the Via dell' Orto diverges also to the left,
near the entrance to which, No. 22, a long inscription indicates
the house (PL 5) in which Francesco Petrarca was born (p. 45).
A monument to the poet is to be erected here. Adjacent rises the
cathedral, on the E. side of which is the Passeggio del Prato, com-
manding an attractive view of the Arno valley and the mountains.

The *Catiedral is a fine specimen of Italian Gothic, begun in
1277, with later additions. The facade is at present being completed
by Dante Viviani.

The Interior, which has no transept and is of handsome and spacious
proportions, contains stained-glass windows, dating from the beginning
of the 16th cent., by Guillaume de Marcillat; the middle window in the
choir is modern. G. de Marcillat also painted the first three arches of
the nave, and the first of the left aisle, the others being by Salvi Castelucci
(1668). In the Right Aisle is the modest tomb of Gregory X., who ex-
pired at Arezzo, in 1276, on his return from France just after proclaim-
ing a new crusade. Adjacent, an early Christian sarcophagus (lid modern).
Above are a Renaissance tabernacle and a fresco of the Crucifixion by
Spinello Aretino (c. 1380). — On the High Altar, marble sculptures by
Giovanni di Francesco of Arezzo and Betto di Francesco of Florence, executed
in 1369-75: Madonna with SS. Donatus and Gregory, and bas-reliefs from
their lives. — In the Left Aisle, at the E. end, is the tomb of Guido
Tarlati di Pietramala, the warlike bishop of Arezzo (d. 1327), the work
of Agoslino and Agnolo da Siena (1330). The 16 sections represent the
ife of this ambitious and energetic prelate, who, having been elected

4o Route 7. >m Florence

governor of the town in 1321, soon distinguished himself as a conqueror,
and afterwards crowned the Emperor Louis the Bavarian in the church
of Sant* Ambrogio at Milan. — Adjacent is a Magdalen, a fresco by Piero
della Francesca. The large Chapel of the Madonna, erected in 1796, con-
tains five excellent terracottas by Andrea della Robbia. — In the Sackisit
is a terracotta relief of the Annunciation by Bern, Rossellino (1433), a fresco
of St. Jerome by Bart, della Gatta, and predelle by Luca Signorelli.

The Marble Statue of Ferdinand de' Medici (PI. 2 ; C, 3) in front
of the cathedral, by Pietro Francavilla, was erected in 1595. In the
piazza is the Palazzo Comunale (PL C, 3j, with armorial bearings.
The Sala del Consiglio contains a portrait (damaged) of Pietro
Aretino (p. 45), by Seb. del Piombo.

Above the door of San Domenico (PI. C, 2) is a fresco of a
Madonna by Angelo di Lorentino (c. 1480). The church contains
a Crucifixion by Parri Spinello , and , on the right , a painted
Gothic tabernacle, with coats-of-arms, by Giov. di Francesco of
Florence.

In the Via Venti Settembre, on the right (No. 27), is the House
of Vasari (PI. 6, B, 2; p. 46), containing works by the master
(1st floor).

At the corner of the Via Garibaldi (entr. at No. 73) and the
Via San Lorentino stand the *Municipal Museum (PI. A, B, 2; vis-
itors admitted at any time on application to the custodian or in the
library ; small fee ; director, Oomm. Gamurrini).

First floor. In the Lobby are some ancient reliefs (62. Lady at her
toilette). — Room I. Weapons and implements of the stone age found near
Arezzo. A collection of coins (among them some good Etruscan speci-
mens) occupies the centre. Cinerary urns. — RR. II, III. Fragments of
vases of red glazed terracotta (p. 45), and numerous moulds. — E. IV.
By the windows, bronze statuettes; to the right, mediaeval articles; in
the first cabinet on the adjoining wall, ivory articles (37. Carved ivory
casket of the 7th cent.); in the other cabinets, admirable majolicas; in
the middle, seals; above, Renaissance figure from a fountain; model in
terracotta of the Madonna by B. Rossellino (p. 47). — R. V. Weapons,
sculptures, architectural frngments, etc.; in the middle, bronze statuettes
and a bronze reliquary by Forzore (1488). — R. VI. Antique urns and
reliefs and mediseval sculptures. — RR.VII-XI: Natural History collections.
RR. VII and VIII contain a yalseontological collection, chiefly from the Val
di Chiana (p. 50).

The Second Floor contains the Municipal Picture Gallery (keeper down-
stairs). — Roosi I. Paintings of the 14-15th cent., beginning with three
works by Margheritone (p. 45), to the right of the entrance. — It. II. Works
of the 15th and early 16th cent., including a fresco of the Madonna and
Child, attributed to Tommaso Martini, two pictures on panel of St. Rochus
by Bartolomeo della Gatta, and two Madonnas by Lorentino d'Angelo (one
dated 1482). — R. III. Luca Signorelli, Large altar-piece with the Madonna,
David, St. Jerome, and the kneeling donor, the jurist Niccolo Gamurrini
(1520); Signorelli, Madonna on clouds, with four saints ; School of Fra Bar-
tolomeo, Madonna enthroned with saints, another large work. R. IV.

Paintings by Giorgio Vasari and other works of the latter half of the 16th
century. — R. V. Paintings of the 17-18th cent., by Ricci, Vignoli, etc. —
R. VI. Works of the 18-19th cent. ; portrait of Tommaso Sgricci, by Girard.
— R. VII. Drawings and sketches. — R. VIII. Fresco by Spinello Aretino
(p. 45). — RR. IX-X contain a collection of paintings bequeathed by Count
Fossombroni fp. 46).

The Municipal Library, in the fame building (open 9-12 and 2-5) con-
ains 460 MSS., the oldest dating from the 11th century.

to Perugia. AREZZO. 7. Route. 49

In a small piazza adjoining the Via Garibaldi stands the church of
Santissima Annunziata (PL A, B, 3), a handsome Renaissance
structure chiefly by Antonio da Sangallo the Elder. In the interior,
at the last altar on the right, Madonna in clouds -with St. Francis,
by Pietro da Cortona; above the side-door (right), the Evangelists
by Spinello Aretino ; stained glass of 1509.

We cross the square diagonally and enter the Via Cavour to the
right. In this street, at the Piazza Principe Amadeo (entr. between
the church and the post-xiffice), is the Badia di San Fiore (PI. B, 3),
which is now the seat of the Accademia Aretina di Scienze, Lettere,
ed Arti. The library, formerly the refectory, contains the Feast of
Ahasuerus by Vasari (1548). In the adjoining Church, built by
Vasari, is a tabernacle by Ben. da Majano ; the painted imitation-
cupola is by Padre Pozzo. Giulio da Majano was the architect of the
Convent Court.

At the lower end of the Corso , near the Barriera Vitt. Ema-
nuele, begins the Via San Bernardo, leading to the church of San
Bernardo (PI. B, 6). The frescoes in the anterior quadrangle (God
the Father and the Evangelists) were painted by Vasari in his youth
(1529); below is the Madonna appearing to St. Bernardino, by Bar-
tolomeo delta Oatta. In the sacristy is a Madonna by Pecori of
Arezzo. The cloisters (bell) to the left contain some indifferent
frescoes in monochrome (life of Guido Monaco and San Bernardino)
and a view of mediaeval Rome. In the garden are the remains of a
Roman amphitheatre.

About 3/« 31. from the Bnrriera Vitt. Emanuele (outside which we take
the avenue to the left, and then at the corner, after 3 min., the road to
the right) is situated the church of Santa Maria delle Grazie, with an
elegant early-Renaissance porch borne by columns , by Benedetto da Ma-
jano (?), and a handsome marble altar by Andrea delta Robbia (ca. 1485).

Railway from Arezzo to Stia and Pratovecchio, see Baedeker's
Northern Italy; to Fossato, see R. 8.

From Akezzo to Monte Sansavino, 12V? M., diligence (fare ilfa fr.)
wice daily, in 2 hrs., through the Chiana vallev (p. 50). The small town
4600 inhah.) of —

Monte Sansavino (1080 ft. : Alb. del Sole, by the Porta Fiorentina,
tolerable) was the birthplace of the sculptor Andrea ( Contucci da) Sanso-
vino (1460-1529). — The church of Santa Chiara, in the principal piazza,
contains (left) a statue of St. Anthony by the Robbia and a Madonna with
four saints, by Sansovino (? 1525); on the right SS. Sebastian, Lawrence,
and Rochus, an early work by Sansovino ; Adoration of the Shepherds by
the Robbia; on the central pillars Sienese paintings of the loth cent.; to
the right and left of the high-altar are prophets by Vasari. In the 'Ruga
Maestra', or principal street, on the right, is the Palazzo Municipale,
erected by Ant. Smgallo the Elder in 1520; the Sala del Consiglio con-
tains a fine carved door of the 16th century. Opposite the town-hall is
& Loggia by Ant. da Sangallo the Elder. On the right, farther on, is the
church of the Misericordia, containing a monument of 1498. On the right
we next observe SanV Agostino, with a facade of the 14th cent. ; it con-
tains an Assumption by Vasari ; the monastery-court, is by Ant. da San-
gallo the Younger. The Pal. Filippi, on the left, No. 17, has fine balcony-
railings and lantern-holders in wroueht iron, of the 18th century. — About

Baedeker. ' 4

50 Route 7. CHI AN A. VALL1S1. from Florence

1 M. from Monte Sansavino ia the Santuario delle Vertighe (16th cent.),
with a Madonna by Margheritone d'Arezzo (ca. 1280).

From Monte Sansavino to Sinalunga (p. 41), S'/z M. ; or a pleasant
round may be made by Foiano della Chiana and Betolle to Torrita, an-
other railway station (p. 41 ; one-horse carr. 8-10 fr.)- — Foiano della
Chiana (1Q33 ft. ; Alb. della Vittoria, R. 1 fr., tolerable) is 8 M. from Monte
Sansavino. On the right, about '/4 M. short of the entrance to the town,
is San Francesco, with a fine loggia, dating from the end of the 15th cent.;
in the interior are several works by the Robbia family. San Domenico
and the Collegiata in the town contain similar works; the latter possesses
a Coronation of Mary by Luca Signorelli (?). — At Betolle (1027 ft.) is the
Villa of Count Passerini, containing a valuable collection of Etruscan
antiquities (golden bracelet with rams' heads, huge vase with contests of
the giants and Bacchic scenes, etc.). One-horse carr. to Torrita (3/4 hr.)
2i/2-3 fr.

On leaving Arezzo we notice on the left the chain of hills which
separates the valleys of the Arno and Chiana (see below) from the
upper valley of the Tiber. Beyond a tunnel the train runs straight
across the plain to (62 M.) Frassineto and (66 M.) Castiglione Fio-
rentino, the latter on a hill (1132 ft.). Farther on, to the left, the
dilapidated fortress of Montecchio. The high -lying Cortona next
becomes visible to the left in the distance.

The Valley of the Chiana runs parallel to the main axis of the Apen-
nines and forms the natural prolongation of the uppermost valley of the
Arno. In prehistoric times the waters of the Arno flowed through it to
the Tiber; as their fall, however, was but slight, the deposits from the
neighbouring streams blocked the channel and changed the course of the
river to a N.W. direction , leaving the valley a fever-haunted swamp
(Dante, Inferno xxix, 46). Thus it remained until the middle of the
18th cent., its waters draining into two separate river-systems, a peculiar-
ity of rare occurrence. The method was then adopted of allowing the
detrital matter brought down by the mountain-streams to deposit itself
on the bed of the valley. Owing largely to the efforts of Count Fossom-
hroni (p. 46), the level was thus raised to its present height, and the
district is now one of the most fertile in Italy. The ancient Clanis (the
I.at. name for Chiana), after parting company with the Arno, flowed into
the Tiber, but since then the watershed (827 ft.) has shifted to the S.
The chief arm of the river, the Tuscan Chiana, pours its water into the
Arno by means of the Canal Maestro, while only one arm, the Roman
Chiana, which joins the Paglia at Orvieto (p. 89), reaches the Tiber.

72 M. Cortona. The station (834 ft. ) lies near the village of
Camucia, at the foot of the hill on which the town is situated.

A carriage-road (2J/4 M. ; omnibus 75 c, at night 1 fr.) ascends
to Cortona, passing Santo Spirito on the right. Pedestrians cut off
the final windings by following the old road, which passes (near an
Etruscan tomb, 'Grotta di Pitagora') to the W. of the church of
*Santa Maria del Calcinaio (a small early-Renaissance building by
Francesco di Giorgio of Siena, 1485-1514, with a handsome altar
of 1519), and by the Borgo San Vincenzo or S. suburb, and leads to
the low-lying S.W. town-gate or Porta Sant' Agostino (p. 51).

Cortona. — Hotels. Albekgo Nazionale (PI. a), Via Nazionale, R. 2l/2-5i
pens. 6-9 fr. ; Alb. Garibaldi (PI. b), Piazzo Alfieri, with good trattoria;
Alb. del Popolo (PI. c), Via Guelfa, in the 16th cent, palace mentioned
at p. 51.

to Perugia. CUKTUJSA. 7. Route. 51

Cortona (2130 ft.), a small, loftily-situated town with 3579 in-
hab. , standing above the valley of the Chiana and not far from the
Trasimene Lake , is one of the most ancient cities in . Italy. Its
situation and views, its Etruscan antiquities, and several good
pictures of the 15th cent., render it well worthy of a visit.

It appears that the Etruscans, immigrating from the plain of the Po,
wrested the place from the Umbrians , and constituted it their principal
stronghold for the subsequent conquest of the country. Cortona was one
of the twelve confederate cities of Etruria, and with them shared the
fate of being converted into a Roman colony. After various vicissitudes
and struggles it came untler the dominion of Florence in 1411.

Luca Signokelli (b. after 1450, d. 1523), who has justly been called
a precursor of Michael Angelo, was born at Cortona. Like his master Piero
della Francesca (pp. 46, 54), he was a zealous student of anatomy ; in the
embodiment of the nude, in the conception of movement and foreshorten-
ing he surpasses all his contemporaries. On the other hand, his deficiency
in refined pictorial sentiment forbids the full development of plastic vigour
in his pictures. He therefore prefers extensive fresco - paintings (see
pp. 90, 40, 331) to easel-pictures as a suitable field for his abilities. His
native town, where he held several municipal appointments, still con-
tains a number of his works, none of which, however, are of much im-
portance. — Cortona was the birthplace also of Pietro Berettini, surnamed
Pietro da Cortona (1596-1669), the painter and decorator, who was chiefly
employed at Rome and Florence.

The carriage-road from the station ends at the promenades of the
Giardino or Passeggio Pubblico. At the entrance of the town proper
is the Piazza Garibaldi (PL 2) , a semicircular terrace on the left,
with a monument to Garibaldi, and commanding an unimpeded view
of part of the Trasimene Lake and the surrounding heights. On the
right, at the entrance to the Giardino Pubblico, is the church of —

*San Dombnico, built in the early 15th cent, on the site of an
older church, and containing some admirable paintings : on the high-
altai an Assumption by Bart, della Oatta; on the right, Madonna
with saints and angels, an early work of Fra Angelico (ca. 1414) ;
at the 3rd altar on the right, Madonna with St. Peter Martyr and
St. Dominic, by L. Signorelli (1515); on the left wall, Coronation
of the Virgin, by Lor. di Niccolb (1440), presented by Cosimo and
Lorenzo de' Medici.

The Via Nazionale leads hence straight to the Piazz*. Vittorio
Emantjele (PI. 1), where the Municipio is situated. Here, to the
left, diverges the Via Guelfa, in which are situated, to the right, a
beautiful palazzo of the 16th cent., and lower down the church of
Sant' Agostino, with a Madonna and saints by Pietro da Cortona. At
the end of the street, just outside the Porta Sant' Agostino (p. 50)
is the Palazzo Cecchetti, under which an Etruscan vault has been
preserved.

Turning to the right from the Piazza Vitt. Em., we reach the
small Piazza Signorelli (PI. 3), where we observe, opposite to us,
the Palazzo Pretorio, and on the left an ancient Marzocco (lion).

The Palazzo Pretorio, with numerous armorial bearings of old
magistrates, is now occupied by various public offices, and contain?

52 Route 7. CUKTUJNA. trom Florence

the Accademia Etrusca, founded in 1726, which possesses a Museum
of Etruscan Antiquities, well worth -visiting. (Fee 1/2~1 ft- to
the custodian, who lives close by; open free on Tues., Thurs.,
& Frid. 10-1.)

The gem of the collection, of remote antiquity and perhaps imported
from Greek Asia Minor, is a circular Candelabrum (lampadario), made to
hold 16 lights; on the lower side in the centre a Gorgon's head, surrounded
with a combat of wild beasts; then wave-like ornamentation; and finally
eight ithyphallic satyrs, with dolphins below them, alternately with eight
sirens ; between each pair of lamps a head of Bacchus. An encaustic
painting on slate, representing '■Polyhymnia', was once thought to be an-
cient. Kemarkable Etruscan Bronzes, a Votive Hand with numerous sym-
bols, Vases, Urns, Inscriptions, etc. There are also a few Egyptian anti-
quities, including two mummies. — The Public Library, in the same
building, possesses a tine JUS. of Dante.

The Via Casali descends from the Palazzo Pretorio to the —
*Cathedral (Santa Maria) , a handsome basilica , ascribed to
Oiulio da Sangallo (1456-1502} , altered in the 18th cent, by the
Florentine Aless. Galilei.

In the choir are several paintings by Luca Signorelli: an Institution of
the Last Supper, a very quaint composition (1512), a Descent from the
Cross (1502), a Conception (1521), and a Nativity. — To the left of the choir,
an ancient sarcophagus, representing the contest of Dionysus against the
Amazons, erroneously supposed to be the tomb of the Consul Flaminius
(p. 53). In the S. aiale is a Madonna by Pielro Lorenzetti, and in the
sacristy a second Madonna (studio-piece), by the same.

Opposite the cathedral is the Baptistery (II Gesit), of 1505, con-
taining three fine pictures by Fra Angelico da Fiesole : the An-
nunciation and two predelle , representing scenes from the life of
the Virgin and St. Dominic.

Passing the colonnades of the theatre in the Piazza Signorelli,
we follow the Via Dardano straight to the Porta Colonia, where we
obtain the best survey of the *Ancient Etruscan Town Walls,
constructed of huge blocks, and for the most part well preserved,
which surround the town in a circumference of about 2860 yds.,
and along the outside of which we may descend. Even the gateways
are still recognizable.

Ascending the Via Santa Margherita from the Piazza Garibaldi,
we reach (20min.) the hill commanding the town, on which are
situated the church of Santa Margherita, and a dilapidated fortress
(see below"). — About halfway up, the Via delle Santucce diverges
to the left, leading in a few minutes to the church of San Niccolb,
with a small entrance-court planted with cypresses. The entrance
is on 'the W. side, opposite the custodian's house.

The interior (]/2 fr.) contains a freely-restored fresco and a good altar-
piece, painted on both sides (in front the Body of Christ borne by angels
and surrounded by saints ; at the back, Madonna enthroned, with SS. Peter
and Paul), by Luca Signorelli. — The sacristan will point out a direct
route, ascending hence by steps to Santa Margherita.

The church of Santa Margherita is a modern building occupying
the site of a Gothic church (by Giov. Pisano ?) erected in 1294 of
which the handsome rose-window is the sole remaining'trace. In

to Perugia. LAttO TRASIMENO. 7. Route. 53

the high-altar is the tomb of the saint, by Angelo and Franc, di
Pittro (1362); the silver front was presented by Pietro da Cortona.
The platform of the Campanile commands a splendid *View. Below
are the remains of Roman Baths, erroneously called a Temple of
Bacchus. — The visitor should not omit to ascend somewhat higher
to the old Fortbzza (2130 ft. ; trifling fee ; custodian sometimes
difficult to find), from the walls of which the prospect is entirely
uninterrupted , except at the back , where it is bounded by the
mountain-chain (Alta SantJ Egidio, 3465 ft.).

The visitor may (by presenting a visiting-card) possibly obtain access
to the private collection of Sig. Ferretti in the Palazzo Mancini, Via
Nazionale 5: beautiful half-length picture of St. Stephen and a Nativity
by Luca Signorelli.

76 M. Terontola (Buffet), an unimportant place near the N.W.
angle of the Trasimene Lake, is the junction of the lines to Chiusi,
Orte, and Rome (see R. 11), and to Perugia and Foligno. Passengers
in the latter direction change carriages here (views to the right).

The Lago Trasimeno, the ancient Lacus Trasimenus (843 ft.),
is 30 M. in circumference, and 8-14 M. across, and is surrounded
by wooded and olive-clad slopes, which as they recede rise to a
considerable height (ca. 2600 ft.). The lake, which abounds with
fish, contains three small islands, the Isola Maggiore with the Villa
Guglielmi, the Isola Mlnore towards the N., and the lsola Polvese
towards the S.E. ; on the W. side an eminence abuts on the lake,
bearing the small town Castiglione del Lago (p. 86). Until recently
the only outlet for the waters of the lake was a drain (emissarium),
constructed in the 15th cent., which ran into a tributary of the
Tiber, but this gradually became choked up. A second emissario,
near San Savino, was accordingly made in 1896-98, to regulate
the height of the water, to increase the arable land on the shores,
and to diminish the sway of fever. A project for draining it entirely,
formed by Napoleon I., has been given up for the present.

The reminiscence of the sanguinary victory which Hannibal gained
here over the Roman consul C. Flaminius in B.C. 217, imparts a tinge of
sadness to this lovely landscape. It is not difficult to reconcile the descrip-
tions of Polybius (3, 83 et seq.) and Livy (22, 4 et seq.) with the present
appearance of the lake. In the spring of 217 Hannibal quitted his winter-
quarters in Gallia Cisaipina, crossed the Apennines, marched across the
plains of the Arno, notwithstanding an inundation, devastating the country
far and wide in his progress, and directed his course towards the S., passing
the Roman army stationed at Arezzo. The brave and able consul followed
incautiously. Hannibal then occupied the heights which surround the defile
extending on the N. side of the lake from Borghetto to Passignano, upwards
of 5 M. in length. The entrance at Borghetto, as well as the exit at Passig-
nano, was easily secured. Upon a hill in the centre (site of the present
village of Tuoro , 1007 ft.) his principal force was posted. A dense fog
covered the lake and plain, when in the early morning the consul, ignorant
of the plan of his enemy, whom he believed to be marching against Rome,
entered the fatal defile. When he discovered his error, it was too late :
his entire left flank was exposed, whilst his rear was attacked by the hostile
cavalry from Borghetto. No course remained to him but to force a passage
by Passignano, and the vanguard of 6000 men succeeded in effecting their
egress (but on the following dav were comnelled to surrender). The death

54 Route 8. SAN SEFOrXJKU."

of the consul rendered the defeat still more disastrous. The Romans lost
15,000 men, while the remaining half of the army was effectually dispersed ;
and the Roman supremacy in Italy began to totter. The memory of the
streams of hlood which once discoloured the lake at this spot survives in
the name of Sanguineto, the village to the N.W. of Tuoro.

The line skirts the lake and passes through a tunnel. 80 M. Tuoro
(p. 53) ; 83 M. Passignano, with an ancient keep. Two tunnels.
89 M. Magione, with an old watch-tower of the time of Fortehraccio
and Sforza ; 97 M. Ellera.

103 M. Perugia, picturesquely situated on the hill to the left,
see p. 59.

8. From Arezzo to Fossato di Vico.

83 M. Railway (Ferrovia Appennino Centrale) : two through-train s daily
in 572-8 hrs. (fares 5 fr. 35, 3 fr. 85 c).

Arezzo, see p. 45. — The train diverges from the line to Rome
(p. 50), and hegins to ascend more rapidly towards the hills to the
S.E. of Arezzo, affording a picturesque retrospect of the town and
plain. It mounts as far as the Scopetone, the W. parallel chain of
the Umhrian Apennines, separating the valleys of the Arno and
Tiber. This part of the line, the most interesting from an engineer-
ing point of view, traverses 20 tunnels and several viaducts. —
Beyond (11 M.) Palazzo del Pero (1325 ft.) we descend to the N.E.
through the wooded valley of the Cerfone, a tributary of the Tiber.
— 19!/2 M. Ville-Monterchi (1023 ft.) in a hollow, from which a
steeper ascent leads to (20 M.) Citerna (1049 ft.). — 241/2 M.
Anghiari (1109 ft.), a small town (1927 inhab.) picturesquely situat-
ed on a hill (1407 ft.). The train traverses the highly cultivated
plain, once a lake-basin, crosses the Tiber, and reaches —

28 M. San Sepolcro (1082 ft. ; Alb. Fiorentino, Via Venti Set-
tembre, R. & L. li/2 fr.), a little town with 4537 inhab. and old
walls, at the foot of the Alpe della Luna (4769 ft.). It was the
birthplace of Piero della Francesco (ca. 1420-92; comp. p. 46), who
may be studied here to advantage, and of Raffaello dal Colle (1490-
1540), a pupil of Raphael. Hurried travellers may see the points of
interest in about an hour.

About 300 yds. from the station we pass through the Porta
Fiorentina to the right into the Via Venti Settembre, which leads
to the Piazza Vittorio Emanuele Secondo. The Via Barbagliati soon
diverges to the right to the Piazza Santa Chiara, where the church
of Santa Chiara contains an Assumption ascribed to Piero della
Francesca and a fine Nativity in the style of the Robbia.

The Piazza Vittorio Emanuele Secondo adjoins the Piazza Gari-
baldi, on the left of which stands the Palazzo del Comune, contain-
ing a small Picture Gallery (open all day; fee). Among the chief
paintings, mostly brought from the churches of the town are the
following: *Piero della Francesca, Resurrection (fresco), Madonna
della Misericordia and saints (lAAblL-Sisnorelli, Crucifixion with

CTTTA VI UASTKLLU. 8. Route. 55

two saints on the back (originally a church-banner) ; Raffaello dal
Colle, Annunciation, Circumcision. — Nearly opposite, to the left,
is the Court of Law, -with armorial shields by the Robbia.

To the right stands the Cathedral, a Romanesque edifice,
altered in the Renaissance period.

In the Choir are an Ascension by Pervgino (replica of the work at
Lyons) and a Resurrection by Raffaello dal Colle. Left aisle: Two wings
of an altar-piece by Piero della Francesca, the central painting of which
(Baptism of Christ) is in London ; Adoration of the Magi by Alberii. Right
aisle: St. Thomas by Santi di Tito. Also, the monument of Abbot Simone
Qraziano (d. 1508), the Camaldulensian.

Near the cathedral , at No. 15, Via Lorenzo Magniflco , is the
Casa Collacchioni , containing a fresco of the * Youthful Hercules
by Piero della Francesca (adm. only by permission of the proprietor,
at Florence; fee). In the Giardino Pubblico is a monument to Piero
della Francesca (1892).

From San Sepolcro a road crosses the Central Apennines to (31 M.)
Vrbania (p. 127). — A diligence plies twice daily in 2 hrs. (fare 1 fr.) to
(10 M.) Pieve Santo Stefano (1414 ft.). About 12 M. farther on, to the N.,
and 1 M. from the village of Le Baize (inn) , is the source of the Tiber
(Vene del Tevere ; 4160 ft.), on the slope of Monte Fumaiolo (4619 ft.).

The railway proceeds to the S.E. along the left bank of the
river. 31 M. San Oiustino (1074 ft.), with a chateau of the Bufalini
(15th cent.); 33V2 M. Selci Lama.

38 M. Cittk di Castello (945 ft. ; Albergo e Trattoria della Can-
noniera, PI. a, A3, R. & L.iy2-3 fr. ; Albergo Tiferno, Via Sant'
Antonio, PI. B 2, very fair), with 6096 inhab., occupying the site
of Tifemum Tiberinum, which was destroyed by Totila. It belonged
to the Vitelli family in the Renaissance period, and afterwards to
the States of the Church. The town, built in the form of a rectangle
and still surrounded by walls erected in 1518, contains many in-
teresting buildings of the Renaissance. The most conspicuous of
these are the Palazzo Comunale, the Cathedral, and the Palaces
of the Vitelli, the lords and masters of the town (15-16th cent.),
who, like most of the magnates of the Renaissance period, were
passionately addicted to building. Two hours suffice for a rapid
visit to the chief objects of interest.

Opposite the railway-station (PI. B, 2), to the right, stands the
Palazzo Vitelli a Porta Sant' Egidio , the largest of the Vitellian
palaces, with an elaborately painted loggia and a fine ceiling (adm.
only by permission of Principe Vitelli at Florence). In the garden
at the back is an interesting summer-house [Palazzina, PL B, 1)
of the 16th century. The Via Mazzini, near which is a statue of
Qaribaldi (1887), leads hence towards the town, passing (right)
the Palazzo Vecchio Bufalini. A little farther on we turn sharply
to the right into the —

Piazza Vitelli (PI. B, 2), on the S. side of which (left) stands
the Pal, Mancini. Farther to the W. are the Pal. del Governo
(PI. 1 ; A, 2), the N. facade of which is of the 14th cent., and the

56 Route 8. From Arezzo

Piazza Vbnti Settembbjb (PL A, 2), containing the handsome
Palazzo Comunale, a rusticated building by Angelus of Orvieto
(14th cent ), with a staircase borne by pillars.

Adjoining the Pal. Comunale is the Cathedral of San Flo-
rido (PI. A, 2), an admirable specimen of the Renaissance style,
with a baroque W- facade, erected in 1482-1540 by Ella di Barto-
lomeo Lombardo and his son. The only relics of the original Ro-
manesque building of 1012 are the campanile and the carved N.
portal. The most notable features of the interior are the fine
capitals and the intarsia-work in the choir (16th cent.). In the
sacristy is a small Madonna by Pinturicchio (?). The treasury con-
tains an embossed silver antependium, with designs in silver-gilt
(ca. 1150), and a fine crozier (14th cent.). — To the W. of the
cathedral lies the Giardino Pubblico (PI. A, 2), affording views of
the Tiber valley.

About 350 yds. to the S. of the Piazza Vitelli is the Gothic
church of San Domenico (PI. B, 3), of 1395. Still farther to the S.,
by the town- wall, is the Palazzo Vitelli della Cannoniera (PL A, 3),
with decorative frescoes on the staircase and a "fine sgraffito fagade
(towards the garden).

About 250 yaTds to the N. of the Piazza Vitelli is the Pinacoteca
(PI. A, 2), formerly a monastery, containing paintings and works
of art collected from various churches.

The notable works include the following : Luca Signorelli, Martyrdom
of St. Sebastian (1496; from San Domenico); School of Signorelli, Adoration
of the Magi, Baptism of Christ, Coronation of the Virgin; Eusebio di San
Giorgio (?), Church-banner, with (No. 32) the Trinity and (So. 16 1 the Creation
of Eve, formerly attributed to Raphael and in a very damaged condition;
early and tree copy of Raphael's Coronation of St. Nicholas of Tolentino,
painted for Citta di Casttllo (whereabouts now unknown); Piero della
Francesca, S >lvator Mundi; Francesco Tifemate da Caslello, Annunciation
(1524), Madonna, enthroned; Giacomo da Milano, St. Sebastian; Florentine
Master, Virgin en'hroned, with saints; paintings by Raffaello dal Colle;
several terracottas by Andrea della Robbia and his school, including a
large Assumption; silver reliquary (1420).

A little to the N. of the piazza is the small church of Santa
Cecilia (PL A, 2), with an Adoration of the Magi from the workshop
of the Robbia. Not far off is Santa Maria delle Grazie (PL A, 1),
with Gothic remains. To the S., at the end of the Via Undici Set-
tembre, is Son Francesco (PI. B, 2), with a tablet to the memory
of Raphael and a chapel of the Vitelli built by Vasari.

Raphael, it is well known, painted some of his first works in Perugia
for churches in Citta di Castello, but they have since disappeared, or (like
the Sposalizio now in the Brera at Milan) have been carried elsewhere.

The train follows the right bank of the Tiber. 43 M. San
Secondo (869 ft.), at the mouth of the Aggia valley. On a height
to the right lies the pilgrim-resort of Madonna di Canoscio (1473 ft.),
2 M. from the station of the same name. — 451/) M. Trestina; 47 M.
Ranchi dtl Nestoro. Beyond (49 M.) Montone-Monte-Castelli we cross
the Tiber and reach (53 M.) Ombertide (810 ft. ; Alb. Guardabassi),

s ? rr'- \ f> L s-?r% L* : I

W I *■> y '-v. k ^§1 ' 4 »

3'_jOJ>'

•i

to Fosiato. (JUBBIO. 8. Route. 57

a small town (5682 inhab.) on the left bank of the Tiber. In the
church of Santa Croce is a Descent from the Cross by Luca Signo-
relli (1516). Diligence to Perugia (p. 60).

Beyond (55 M.) Monte Corona (774 ft.) the railway quits the
Tiber and ascends to the N.E. through the narrow valley of the
Assino, crossing the stream eight times. — 57 M. Serra Partucci
(872 ft.); 591/2 M. Campo Reygiano (1030 ft.). At (681/2 M-) p*'«-
tralunga (1233 ft.), the village of which name (1853 ft.) lies 9 M.
to the N., we reach the fertile table-land of Gubbio, a former lake-
basin in the main chain of the Apennines, which is drained on the
S. by the Chiaggio or Chiascio (Lat. Clasius).

70 M. Gubbio (1568-1735 ft. ; Albergo San Marco PI. a, D 2,
Via Alfredo Baccarini, with garden, E. IV2-2V2 fr-> B- 60 c, well
spoken of; Cafes in the Oorso Garibaldi), with 5783 inhab., lies at
the foot and on the slopes of Monte Calvo (2224 ft.), at the entrance
to a gorge flanked by steep cliffs through which the road leading to
Scheggia (p. 117) passes. The town presents quite a mediaeval ap-
pearance, and the proximity of the Apennines also gives it a different
character from most other Italian towns. Conspicuous among the
houses is the huge Palazzo dei Consoli (p. 58), while above them
towers the convent of Saut' Ubaldo (2690 ft. ; beyond PL E, 1).
The hurried traveller may 'do' the town in 3 hrs.

Gubbio is the ancient TJmbrian town of Iguvium (the mediaeval Eugw
Hum). It was destroyed by the Goths, became later an independent state,
afterwards belonged to the duchy of Urbino, and with it finally accrued
to the States of the Church. — The picturesque procession of the Festa dei
Ceri takes place on May 15th, the eve of St. Ubaldus (bishop of Uubbio
in the 12th cent.), and wends its way through the streets to the above
mentioned convent (comp. 'The Elevation and Procession of the Ceri at
Gubbio', by Herbert M. Bower, 1897).

Gubbio was the native place of Oderisio, a famous miniature-painter
(1240-99), who is called by Dante in his Purgatorio (xi. 80) TOnor d'Agob-
bio' ; but no authentic work by his hand now exists. In the 14th and
15th cent, a branch of the Umbrian school flourished here, and among its
masters, whose renown extended even beyond their native place, were
Guido Palmerucci (1280-1345?) and several members of the Nelli family,
particularly OUaviano Nelli (d. 1444; comp. p. 6')- — Gubbio occupies a
still more important page in the history of Artistic Handicrafts. Like
Urbino, Castel Durante, Pesaro, and Faenza, it was noted for the manu-
facture of Majolica, or earthenware vases and tiles which were covered
with a coating of colour before being baked. This position it owed mainly
to Don Giorgio Andreoli, surnamed 'Mastro Giorgio', the inventor or dis-
coverer of a carmine tint, which, after bilking, acquired a singularly beau-
tiful metallic lustre. Of his numerous and widely scattered works Gubbio
possesses only one small tazza, with St. Francis receiving the stigmata.

The town is traversed from end to end by three parallel streets :
Corso Garibaldi, Via Savelli, and Via Venti Settembre. Most of
the streets are very steep.

About 74M. from the rail, station is the spacious Piazza Vittoeio
Emanuele (PI. C, D, 2). To the left is the Gothic church of San
Francesco. The Via Paoli ascends hence to the Piazza dblla Sig-
noria (PI. D, 2), on the slope of the hill, supported by massive vaults.

Oo Route 8. uudbto.

A small side-street to the left, near the beginning of the Via Paoli,
leads to the Gothic church of San Giovanni Battista, with an early-Gothic
altar home by 16 columns.

The most conspicuous building in the Piazza della Signoria is
the Palazzo dei Consoli, a huge pinnacled Gothic edifice with a
tower, erected in 1332-48 by Oiovanello Maffei of Gubbio, sur-
named Oattapone, and now a 'national monument'. The ground-
floor contains a slab with an inscription of the Augustan period. The
*View from the loggia embraces the ruins of the Roman theatre in
the plain (p. 59), and the Palazzo Ducale on the hill (fee */2 &•)•

The Palazzo Pretorio (opposite), now the Palazzo Comunale
(PI. D, 2), contains a few collections (fee 1/2- 1 fr0-

On the first floor are the so-called Eugubian Tablets, which were dis-
covered in 1444 near the ancient theatre (p. 59). They are of bronze, and
the Italic inscriptions on the seven tablets are the most extensive in
existence. They contain in the Umbrian language, an old Italian dialect
akin to Latin, liturgical regulations and forms of prayer', dating from
different periods. The five older ones, in the Umbrian character, are read
from right to left. The later (two and a fragmentary third), in Latin
letters, date from about the 2nd cent. B.C.

The upper saloon (handsome door) contains a number of pictures,
chiefly of the Umbrian school, among the best of which are a church
banner of 1503, a St. Vincent Ferrer (school of Nelli), and an example of
Timoteo Viti. The fame room contains several charters of the Hohenstaufen
emperors (with golden bullae); wood-carving of the 15th and 16th cent,
(chests, cabinets, and chairs); and a number of ancient (comp. p. 57) and
modern majolicas.

The third side of the piazza is occupied by the modern Palazzo
Ranghiasci-Brancaleone (PI. 1 ; D, 1, 2).

We leave the Piazza della Signoria (at the E. corner), and soon
ascend the steep Via Ducale , which brings us to the Via Sant'
Ubaldo (on the right), containing the Palazzo Ducale (PI. D, 1),
an old Gothic edifice, which was remodelled in the early-Renais-
sance style by Luciano da Laurana (p. 129), in 1474-80. The fine
colonnaded court (custodian in the house next to the cathedral)
resembles that of Urbino. The interior is quite a ruin (fine view).

Opposite rises the Cathedral op Santi Mariano e Jacopo
Martire (PI. D, 1), a structure of the 13th cent., destitute of aisles
and so built against the slope of the hill that its back is embedded
in the ground. The facade is adorned with sculptures of the Evan-
gelists and the Lamb of God (13th cent.).

Among the pictures in the interior is a Madonna with SS. Ubaldo and
Sebastian, by Sinibaldo Ibi of Gubbio (first altar on the left). By the
third altar, a Coronation of Mary Magdalen by Timoteo Viti (1521); 10th
altar (left), a Nativity, by Euselio di San Giorgio. The Pieta at the organ
is by Adone Doni, who has to some extent followed Michael Angelo's group
at Rome (p. 324). The sacristy contains a Flemish vestment, presented
by Pope Marcellus II.

We now return to the Via Venti Settembre, descend to the Via
Savelli, and follow the latter to the left. At the end (on the right)
rises the church of Santa Maria Nuova (PI. E, 2), containing the
admirably - preserved 'Madonna del Belvedere', by Ottaviano Nelli
(apply to the sacristan ; prob. dating from 1404), a Crucifixion by

PERUGIA. 9. Route. 59

Bernardino di Nanni (much damaged) , frescoes on the entrance
wall, and on the wall to the left of the door a St. Anthony by Guido
Palmerucci.

Farther on to the S.E., just outside the Porta Romana (PI. E, 3),
lies the church of Sant' Agostino ; the frescoes in the choir (scenes
from the life of St. Augustine, a glory with angels and apostles,
and the last judgment; discovered in 1902) are by Ottaviano Nelli.
We now re-enter the gate and turn to the left, passing the Roman-
esque church of the Santissima Trinity into the Corso Gabibaldi,
whence we turn to the left, down the Via Vincenzo Armanni to the
church of San Pietro (PI. D, E, 3), with a ruinous facade of the
12th cent., and to the Porta Vittoria. Outside the gate is the church
of Santa Maria della Piaggiola (PI. D, 3; visitors knock at the left
door), containing a good Madonna by Gentile da Fabriano (or Otta-
viano Nelli?) over the high-altar. — By following the town-wall
(outside) to the N.W. from the Porta Trasimeno, and then turning
to the left, we reach the remains of an Ancient Theatre, apparently
of the republican era and restored under Augustus. The ancient
town extended farther intc the plain than the modern, as is also
proved by other remains.

From Gubbio to Perugia by road, see p. 69.

73 M. Padule. Beyond (78i/2 M.) Branca (1217 ft.) we cross
the Chiaggio and traverse the valley of that stream to —
83 M. Fossato di Vico, see p. 126.

9. Perugia.

Arrival. Electric Tramway from the station through the Porta Nuova
(25 c.) and across the Piazza Vittorio Emanuele (PI. C. 5; 20 min.) to the
Piazza Danti (PI. C, 3); fare 30 c, handbag 10, trunk 30 c. — Cabs rarely
at hand (see below). The road ascends in curves and ends at the Porta
Nuova (PI. C, D, 6). At the first bend of the road to the left, a footpath
(shorter) leads straight to the town in 20 min., ending1 at the Porta Eburnea
(Strada del Bucaccio; PI. A, B, 6).

Hotels. — sPai.ace Hotel (PI. p; C, 5), Piazza Vittorio Emanuel,
R. 4-6, B. I1/2, de.j. 3, D. 5, pens. 8-14, omn. J.1/2 fr., new; Grand Hotel
Brufani (PI. a; C, 5), well situated at the entrance to the town, K. 3-5,
L. V2, A. 1, B. li/z, dej. 3, D. 5, pens. 8-12, omn. 1 fr.; these two of the
first class. — Second class: Grande Bretagse (PI. b; C, 4; formerly
Poste), Corso Vanucci 21, at the corner of the Piazza Umberto Primo,
with trattoria, R.fron^'/o, L. &A. 1, pens.7fr., very fair. — Albergo Belle
Auti (£/. c; C, 5), Via Luigi Bonazzi 21. plain but good. K. IV2-2V2 fr. ; Ale.
e Eistorante Umbria (PI. d; C, 4), Via Boncambio 2, R. V/t-V/i fr., un-
pretending. — Furnished rooms: JSignora Rosa femi, Via Luigi Bonazzi 11.

Restaurants. EStel de la Grande Bretagne, see above ; Progresso, Via
Mazzini 10 (PI. C, 4). — Beer at Via Baglioni 39a' (PI. C, 5).

Cafes. Baduel, Trasimeno, both in the Corso Vanucci. — English Tea
Room, Via Mazzini 10 (PI. C, 4).

Baths, Via Augusta 1 (75 c).

Post & Telegraph Office (PI. C, 5), in the Palazzo Cesaroni (p. 62),
Piazza Vittorio Emanuele.

Cabs. Fares in the town : with one horse^per drive 75 c, per hr. l>/2 fr.,
each l/2hr. more 50 c. ; at night (1-5 a.m.) IV4, % and 1 fr. ; with two horses,
per drive I1/4, *""• >"• a •»■"■'» "- l-- ™""> <*•-■-* night,'2,*4, and l>/2 fr.

60 Route 9. PERUGIA. History.

Between the station and the town: one-horse %lfe, Iwo-horse 4, a sing
place 1 fr. Small luggage 10, trunk 20 c. — Diligence Office. Con
Vanacci 38: diligence to Umbertide (p. 56), daily at 7.30 a.m. and 3.15 p.m
in ca. 4 hrs., 3 fr. ; to Todi (p. 69), daily at 7 a.m., in 5'/2 hrs., 5l/2 fr.

Photographs at Teresea, opposite the Municipio (PI. C, 4).

English Church Service at the Grand Hotel.

Perugia on account of its good air is well adapted for a summer-resor
though of walks there are practically none. It is much frequented by Englis
and American visitors in the spring and autumn. Apartments are not expe:
sive. The drinking-water, which comes from the neighbourhood of Nocei
Umbra, is good. — At least a day or a day and a half should be devote
to the town. Guides are not indispensable, and dilettanti are caution*
against purchasing their 'antiquities'. — A drive to Assist is recommende

Perugia (1615 ft.), the capital of the province of Umbria, wi1
20,132 inhab., the residence of the prefect, of a military commai
dant, and an archbishop, and the seat of a university, lies on a gron
of hills about 985 ft. above the valley of the Tiber. The town is bui
in an antiquated style, partly on the top of the hill, and partly o
its slope. Numerous buildings of the 14-15th cent, (when the tow
was at its zenith), the paintings of the Umbrian school, and tl
fine views of the .eculiar scenery, make Perugia one of the mo
interesting places in Italy. Comp. 'Perugia', by Margaret Symoni
and Lina Duff Gordon (London, 1898 ; Mediaeval Town Series).

Perusia (comp. p. (5) was one of the twelve Etruscan confederate citie
and not less ancient than Cortona, with which and Arretiom it fell into tl
hands of the Romans , B. C. 310. It subsequently became a municipiui
In the war between Octavianus and Antony, the latter occupied Perusia i
the autumn of 41 , but after an obstinate struggle was compelled by tl
former to surrender (bellum Perusinum), the town suffering severely, ai
being finally reduced to ashes. It was afterwards rebuilt and became
Roman colony under the name of Augusta Perusia. In the 6th cent, it w
destroyed by the Goth Totila after a siege of seven years. In the wars of tl
Longobards and of the Guelphs and Ghibellines it also suffered greatly ;
the 14th cent, it acquired the supremacy over nearly the whole of Umbri
but in 1370 was compelled to surrender to the pope. Renewed stniggl
followed, owing to the conflicts between the powerful families of Oddi ai
Baglioni. In 1416 the shrewd and courageous Braccio' Fortebraccio of Moi
tone usurped the supreme power, whence new contests arose, until at lengi
Giovanni Paolo Baglioni surrendered to Pope Julius II. (1506). Leo I
caused him to be executed at Rome in 1520. In 1540 Paul III. erecti
the citadel , 'ad coercendam Perusinorum audaciam\ as the inscriptio:
destroyed during the last revolution, recorded. In 1708 the town was ca]
tured by the Duke of Savoy, on 3ist May, 1849, by the Austrians, and
1860 by the Piedmontese. Pope Leo XIII. was archbishop of Perugia fro
1855 to 1877.

Umbrian School of Painting. As early as the time of Dante an Ur
brian artist, the miniature-painter Oderisio of Oubbio, was cel&brate
and art was practised in Gubbio , Fabriano , Perugia, etc. The neig
bonring Siena doubtless exercised an influence on the prevailing sty
of art, which was confirmed by the situation of the towns, the characti
of their inhabitants, and the religious atmosphere diffused by Assisi ar
Loreto. Neither dramatic power, nor wealth of imagination is to 1
found in the Umbrian style , its characteristic features being reveri
tranquillity, and gentleness of sentiment. The men portrayed often a
pear destitute of individuality and vigour, the female figures, on the othi
hand, excite our admiration owing to their winning and devout expre
sions. Technical improvements seem to have been introduced but slowl
but the old =»"!•» who thnrn.ffhlv cultivated and rendered more attracts
by frequent

Vmbrian School. PERUGIA. 9. Route. 61

Setting aside the painters of the 14th cent., who were dispersed among
virions small towns, we find that Ottaviano Nelli (p. 57) was the first
able representative of this school. Works by this master are preserved
both at his native town and at Foligno. Nelli was, however, eclipsed
by Gkntile da Fabriano (b. before 1370. d. 142:>), who probably had studied
the Sienese masters in his youth, and who afterwards undertook long
journeys (e.g. to Venice and Rome), thus establishing his reputation
throughout Italy. His style not unfrequently resembles the Flemish.
Besides Gubbio and Fabriano, other Umbrian towns possessed local
schools of painting, such as Camerino and Foligno. The latter, about the
middle of the 15th cent., gave birth to Niccolo di Liberatore, surnamed
Alunno, a man of limited ability, which, however, he cultivated to the
ntmost. His prevailing theme is the Madonna, to whose features he im-
parts beauty in happy combination with reverie ; and in this department
he may be regarded as the precursor of Perugino and Raphael.

Meanwhile Perugia, the largest city in this district, by no means
remained idle. In this wider and more enterprising field the old con-
ventional styles were soon abandoned as unsatisfactory, and the necessity
of adopting the Florentine style was urgently felt. In the latter half of
the 15th cent. Benedetto Buonfigu (ca. 1420-96) was the first who strove to
throw aside the local style of painting, and the same effort was made by
Fiorenzo di Lorenzo, a younger master, perhaps a pupil of Benedetto.

Tuis improved style was brought to maturity by Pietro Vandcui of
Citta della Pieve (1446-1524), surnamed Perugino, after the chief scene
of his labours, a master to whom the Umbrian school is chiefly indebted
for its fame. Perugia was, however, by no means the only sphere of his
activity. He repeatedly spent years together in Florence, and was em-
ployed for a considerable time in Rome. His endeavours to overcome
the defects of his native school were crowned with success. In Ver-
rocchio's studio in Florence he was initiated into the secrets of perspec-
tive and the new mode of colouring, and in both respects attained con-
summate skill. Down to the beginning of the 16th cent, his excellence
continued unimpaired, as his frescoes in the Collegio del Cambio, and
several works in the Gallery at Perugia sufficiently prove. During the
last twenty years of his life, however, his works show a falling off, occa-
sioned, doubtless, by his accepting more orders than he could conscien-
tiously execute, whereby his art was degraded to a mere handicraft. He
seems, indeed, to have had more studios than one at the same time, as
for example in 1502-5 both at Florence and Perugia, in the latter of
which the young Raphael was employed (comp. p. 65).

Another great master of the Umbrian school, vying with Perugino,
is Bernardino Betti, surnamed Pinturicchio (1454-1513). Although he
exercised no considerable influence on the progress of Italian art, and
remained unaffected by the striking improvements introduced by Leonardo
and others, yet he thoroughly understood how to utilise the traditional
style and the current forms, and was marvellously prolific as a fresco
painter. The Vatican and Roman churches, the Cathedral Library at
Siena, and the Collegiate Church at Spello, are the chief scenes of his
activity. — Amongst the younger contemporaries of Perugino we must
next mention Giovanni di Pietro, surnamed Lo Spagna after his native
country, whose paintings are hardly inferior to the early works of Raphael,
and who , in common with all the Umbrian masters, exhibits great ease
of execution.

Other assistants of Perugino, but of inferior merit, were Giannicola
»i Paolo Manni (d. 1544) and Eesebio di San Giorgio (ca. 1500) The latter
was so successful in imitating Raphael in superficial respects that several
of Uis pictures, amongst others the Adoration of the Magi in the picture-
gallery at Perugia (Room XII, No. 23, p. 64), have been attribnted to
Raphael himself. Of Sinibaldo Ibi and Tiberio d'Assisi, who flourished
during the first twenty years of the 16th cent., little is known, and their
works are rare. Gerino op Pistoja seems to have been a good painter of
jjj! average class , and the works of Domenico di Paris Alfani (1483- after
1536), a " " " ■-'---i -„-„„„o onnsiderable attraction. These last

Route 9.

masters, however, show little individuality, and before the middle of the
16th century the Umbrian school was completely merged in those of Rome
and Florence.

At the entrance to the upper part of the town, on the site of the
citadel (p. 60), which was removed in 1860, extends the Piazza
Vittob.10 Emanuelb (PI. C, 5), in which rises the Prefettura,
adorned with arcades on the groundtloor. In the centre of the piazza
is a bronze equestrian Statue of Victor Emmanuel II., by Tadolini
(1890). The garden-terrace in front of the Prefeoture affords a
superb *View of the Umbrian valley with Assisi, Spello, Foligno,
Trevi, and numerous other villages, enclosed by the principal chain
of the Apennines extending from Gubbio onwards ; the Tiber and
part of the lower quarters of Perugia are also visible. (A band plays
here two evenings a week.)

Northwards from the Piazza Vittorio Emanuele runs the Corso
Vanucci to the left, leading to the cathedral-square ; and the Via
Baglioni to the right , leading to the Piazza Giuseppe Garibaldi
(p. 67), at the corner of which is the Palazzo Cesaroni, with the
Post and Telegraph Office. We follow the Corso Vanucci (PI. 0,5, 4),
the chief street in the town.

Beyond the Piazza Umberto Primo (left) is the Banca di Perugia
(No. 5 ; PI. C, 4), with a room on the first floor with mural paintings
from the history of the town, by A. Brugnoli (1895 ; adm. by permission
of the manager).

Still farther on, on the same side, is the *Collegio del Cambio (PI.
C, 4), the old chamber of commerce, with the Udibnza dbl Cambio,
containing celebrated frescoes by Perugino (1499-1500). As the
largest complete work of the master these are of the greatest interest,
while their subjects throw important light on the culture of the
Renaissance period. Adm. 7-12 and 3-5; in winter 10-2; tickets,
50 c, at the adjacent Farmacia Severini; best light 11-12.

On the wall to the left of the door. 1st Arch: to the left, Fabius Maxi-
nius, Socrates, and Suma Pompilius, with Prudence above; to the right,
Furius Camillus, Pittacus, and Trajan, with Justice above. 2nd Arch:
to the left, Lucius Sicinius, Leonidas, and Horatius Codes, with Fortitude;
to the right, Scipio, Pericles, and Cincinnatus, with Temperance. These
compositions thus depict the four cardinal virtues, with the ancient historic
personages who stood for them ; the three Christian virtues are glorified in
the remaining frescoes. On the pillar between the arches is a portrait of
Perugino. — Opposite the entrance: to the left, the Transfiguration as the
fulfilment of faith; to the right, "Adoration of the Magi, as a revelation of
love (charity). — Right wall. 1st Arch : to the left, Prophets, to the right
Sibyls, as the heralds of hope; above, Jehovah. The 2nd Arch is occupied
by the finely-carved judicial throne and the money-changers' bench. — On
the ceiling are medallions of the seven planets, surrounded by admirable
arabesques (the work of his pupils). — Raphael is said to have been one
of Perugino's assistants in the execution of these frescoes, though there
is no direct evidence of it. Perugino received 350 ducats for his work from
the guild of merchants. The exquisite carved and inlaid work ('tarsia')
of the judicial benches, doors, etc., by Dom. del Tasso (1490-93) of Florence
and Anlonio di Mercatello (1501), which are amongst the finest works of the
kind, also deserve notice. — The adjacent Chapel contains an altar-piece
and frescoes by Giannicola Manni (1517).

Palazzo 9. Route. 63

Immediately adjoining the Collegio is the *Palazzo del Muni-
cipio (PI. C, 3, 4), a huge edifice of 1281 and 1333, lecently
skilfully restored, with its principal facade towards the Corso and
a second towards the Piazza del Duomo. It is adorned with fine
windows, a handsome portal, and Gothic sculptures, the armorial
bearings of allied towns, saints, etc. Over the portal in the Piazza
del Duomo are a griffin and a lion in hronze (14th cent.) ; below
are chains and bars of gates, commemorating the victory gained by
the Perugians in 1358 over the Sienese. The chief entrance is in
the Corso. On the first floor is the Sala dbl Consiglio, with
a fine Renaissance door, in a lunette above which is a Madonna by
Fiorenzo di Lorenzo. On the same floor is the Sala dbl Capitano
dbl Popolo, an apartment of noble dimensions, with frescoes of
the early 15th century. On the third floor is the *Pinacoteca
Vanucci, or municipal picture-gallery, formed since 1863 of works
collected from suppressed churches and monasteries, and of great
value to the student of Umbrian art. Adm. 9-3, June-Aug. 10-4,
Sun. & holidays 9-1 ; tickets 1 fr., in the 'Economato' on the first
floor (to the left). Catalogues provided.

The Vestibule (I) contains a St. Jerome painted on canvas (probably
by Pinturicchio), a few other unimportant pictures, and also works of art
for sale. Adjoining it is the Sala dei Cimelii (II; old paintings): 1. Meo
da Siena, Madonna and saints. No. 2. Two saints, and Ho. 3. The Apostles
(the latter as predelle) evidently belong to the same work. 12. Ambrogio
Lorenzetti, Madonna and four saints ; 26. Margheritone oVArezzo (1272), Large
Crucifixion ; 22-24. oerhaps by the same master.

Sala III. (formerly the Cappella dei Decemviri), with frescoes by Bene-
detto Bonflgli (1454-96). To the right of the windows and on the entrance-
wall are scenes from the life of St. Louis of Toulouse. Opposite the
windows are the Burial of St. Louis and the Martyrdom of St. Herculanus
on the occasion of the capture of Perugia by Totila. On the adjacent wall
is the Burial of St. Herculanus. — The glass-cases in RE. Ill and IV
contain MSS. and choir-books with miniatures.? — Coeeidoe : Engravings.

Sala dei Stacchi (IV) : Frescoes of the Umbrian School (14th and 15th
cent.), transferred to canvas.

Sala di Taddeo Baktoli (V): Sienese pictures of the 15th cent.,
most of them valuable. Taddeo Bartoli (1403), 9. Madonna with angels
and saints, 10. Descent of the Holy Ghost. Tom. d'Arcangelo of Cortona,
Exploits of the condottiere Braccio Fortebraccio (frieze). — Turning to the
left, we enter the — •

Sala del Fka Angelico (VI): -1-18. Fra Angelico da Fiesole, Frag-
ments of a large altar-piece (Madonna with angels, Annunciation, Saints,
Miracles of St. Nicholas of Bari ; 1437) ; 21. Piero delta Francesco. Madonna
and four saints, with the Annunciation above ; 34. Benozso Ooi-oli, Madonna
enthroned with saints (1456); Gentile da Fabriano, Madonna.

Sala del Bonpigli (VII): Bonfigli, 7. Annunciation, with St. Luke,
10. Adoration of the Magi, 13. Madonna with angelic musicians; 16, 19.
Giovanni Boccati da Camerino, Madonna and angels; Bart. Caporale, Saints.

Sala di Beenaedino di Makiotto (VIII): Bernardino, 1. Betrothal of
St. Catharine, 2. Madonna and saints; 10. Bonfigli, 'Gonfalone' (sacred
banner) of the Fraternity of San Bernardino di Siena (Christ blessing the
saint, below a procession) ; 12. Bart. Caporale, Christ and the Madonna in
glory (fresco ; 1469) ; 14. Niccolb da Foligno, Gonfalone of the Brotherhood
of the Annunziata (1466). — The Small Room beyond contains drawings.

Sala di Fiobenzo pi Loeenzo (IX) : 4. Pinttiricchio, Adoration of the
Magi ; Fiorenzo, 3. Adoration of the Shepherds, 44. Pieta ; 24. Perugino, Coron-

64 Route 9.

ation of the Madonna; 27. Signorelli, Madonna. — Gabinetto di Fiorenzo
di Lorenzo (X): 2-9. Fiorenzo (V), Miracles of San Bernardino (2-6, master-
pieces); 16. Fiorenzo 0), Bust of the Madonna in a garland, with angels'
heads below. Tabernacle with SS. Peter and Paul; St. Sebastian.

Sala del Perugino (XI) : Caratloli, Marble bust of Perngino. Perugino,
11. Baptism of Christ, 20. Nativity, 21, 16, 12, 7. Predelle, 8, 9, 13, 14, 17,
18, 22, 23. Saints; all being fragments of a large altar-piece. Below No. 4.
(St. James, by Perugino) is an autograph letter of the master to the Prior
of Sant' Agostino. — We now traverse the Sala di Giannicola Manni e
di Bekto (XIII) to the —

"Sala del Pinturicchio (XII), which contains the gems of the col-
lection: Perugino, 2. Transfiguration, 3-5. Predelle, 6. Madonna blessing
the Brotherhoods; 7. Spagna, Madonna and saints; 10. Pinturicchio, Large
altar-piece in its original frame, the Madonna with the Child and St. John;
on the wings, SS. Augustine and Jerome; above, the Annunciation; in
the pediment, a Pieta; in the predelle, scenes from the lives of SS. Au-
gustine and Jerome (1498), 12. Gonfalone with St. Augustine (on silk).
Perugino, 14. Madonna, worshippers, SS. Francis and Bernardino; 15. Ma-
donna and saints, 16. John the Baptist with saints ; School of Raphael,

17. Strip of decorative painting, 24. God the Father with angels (both
belonging to the Entombment, in Rome, p. 194); Eusebio di San Giorgio,

18. Madonna with saints; 23 (Raphael?), Adoration of the Magi; 20. Pupil
of Raphael {I), Madonna, resembling the Conestabile Madonna, formerly in
Perugia. — We return through Sala XIII to the Sala della Scuola di
Perugino (XIV): 36. Domenico di Paris Alfani, Holy Family, designed by
Raphael. — The following rooms (XV-XVII1) are the Sala Domenico
Alfani, Sala della Torre, and Sala Orazio Alfani.

The Biblioteea Pubbliea, which is also in this Palazzo, contains about
30,000 vols. , and some fine MSS. of the ll-15th cent., with miniatures.

The Sala del Collegio della Mercanzia (adm. by the 5th door to the
right of the main entrance to the Municipio; nominal hours, 10-12,
not rigidly adhered to) contains fine iatarsia-work (ca. 1400).

In the Piazza del Municipio (PI. G, 3) rises the *Fonte Mag-
giore, dating from 1277-80, one of the finest fountains of that period
in Italy. It consists of three admirably-proportioned basins, adorned
with numerous biblical and allegorical figures in relief, executed by
Niccolb and Oiovanni Pisano and Arnolfo di Cambio (1280 ; two
of the statuettes are modern substitutes). — The W. side of the
piazza is occupied by the Episcopio, or episcopal palace (pictur-
esque inner court) , behind which is the vaulted gateway called
Maesta delle Volte, '& relic of the Palazzo del Podesta, which was
burned down in 1329 and again in 1534.

The church of -Saw Martin o di VerzarO, to the N., in the street skirting
the Teato Morlncchi (PI. C, 3) on theE., contain* a remarkable fresco by
Giannicola Manni (the Virg'n beiween St. John the Baptist and St. Lawrence).

The Cathedral of San Lorenzo (PL C, 3), a Gothic edifice dating
from the 15th cent., is externally unfinished. Adjoining the entrance
from the piazza is (right) a handsome late-Gothic pulpit (1439),
and (left) a Brori'.e Statue of Julius III. by V. Danti (1555).

The Interior, consisting of nave and aisles (of equal height) with a
short transept, is of spacious but heavy dimensions. — On the rigbt of the
entrance is the tomb of Bishop Baglioni (d. 1451) by Urbano da Cortona (?),
beyond which is the Cappella San Bernardino, with a Descent from the
Cross, the masterpiece of Baroccio (1569) ; the painted window representing
the Preaching of St. Bernardino of Siena is by Costanlino di Rosato and
Arrigo Fiammingo of Malines (1565 ; restored in 1863). — In the Left Aisle

Cathedral. 9. Route. 65

is the Cappella del Santo Anello (i.e. of the betrothal-ring of the Virgin),
which down to 1797 contained the celebrated Sposalizio by Perugino,
now at Caen in Normandy. The stalls are by Oiov. Bait. Bastone (1529);
the elegant tabernaeulum was executed by the goldsmith Cesarino del Ros-
cetlo, in 1519. On the 3rdfpier is a revered Madonna by Qiannicola Manni,
the conception of which is unusually vigorous. — Below the 2nd window
to the left: Christ imparting his blessing, and saints, by Lodovico di Angela ;
below the 3rd window, Pieta in relief, by Agottino d' Antonio di Duccio
(1474). — The Left Transept contains a marble sarcophagus of 1615 en-
closing the remains of Popes Urban IV. and Martin IV., both of whom
died at Perugia (1264 and 1285). The bones of Innocent III. were trans-
ferred to Rome in 1892 (see p. 304). — The beautifully carved Choir Stalls
were begun by Giulio d\a Majano in 1486 and finished by Domenico del Tasso
in 1491. — In the Right Transept is a statue of Leo XIII. (1892). —
The adjoining Winter Choir contains an "Altar-piece by Luca Signorelli:
Madonna with a lute-playing angel and SS. John the Baptist, Honuphrius
the Hermit, Stephen (?), and a bishop as donor (1484).

In the Library are preserved precious MSS., such as the Codex of St.
Luke of the 6th cent., in gold letters on parchment.

To the E. and N. of the Cathedral lies the Piazza Danti [PI.
C, 3), quitting which, by the Piazza Piooinino and the Via Bontempi
to the E., and then taking the first side-street, the Via Raffaello, to
the left, we reach the college of *San Severo (PI. D, 3), formerly a
convent of the order of Camaldoli. In the chapel of this convent
Raphael painted his first independent fresco, in 1505, having left
Perugino's school the year before, and visited Florence in the interim.
Entrance adjoining the chapel (custodian i/2 fr.).

The fresco, which was seriously damaged, and was spoiled in 1872 by
the restorer Consoni, betrays the influence of Fra Bartolomeo's Last
Judgment in Santa Maria Nuova in Florence and may also be regarded as
the forerunner of the upper part of Raphael's Disputa in the Vatican;
above, God the Father (obliterated) with two angels and the Holy Ghost;
below, the Redeemer, between two angels, and the saints Maurus, Placi-
dus, Benedict, Romuald, Benedict the Martyr, and John the Martyr. The
Umbrian school has produced nothing finer than some of these figures.
At the sides, lower down, St. Scholastica, St. Jerome, St. John the Evan-
gelist, St. Gregory the Great, St. Boniface, and St. Martha, painted by
Perngino in his 71st year, and plainly revealing the artist's fading powers.

Thence following the side-streets to the N.W. (fine view from the
Piazza di Prome, PI. D, 3), or from the Piazza Danti by the Via Vecchia,
to the N., we reach the so-called *Aeco di Atjgusto (PI. C, 2), an
ancient town-gate with the inscription Colonia Vibia Augusta Perusia.
The foundations date from the Etruscan period, the upper part from
the 3rd cent. A. D., while the loggia is of the Renaissance period.
The old Etruscan walls (nearly l3/4 M. long), which enclosed the
height where the old part of the present town stands, may be
easily traced on the W. and S.W.

The small space in front of the Arco di Augusto is called the
Piazza Fortebraccio (PI. C, 2). To the left is the Palazzo Qallenga,
formerly Antinori, by Alessi (13th cent.). Straight in front extends
the Corso Oaribaldi (see p. 66).

From the Palazzo Gallenga the Via Ariodante Fabretti leads to
the University (PI. B, C, 2), established in 1320 in a monastery of
Olivetans. It possesses a small Botanic Garden, Natural History

Baedekrr. Central Italv. 14th Edition. 5

66 Route 9. University.

and Art History Collections, and a Museum of Etbuscan and
Roman Antiuuitibs (open daily, except Mon., 10-2 , in summer
10-12, and 3-5; adm. 1 fr. ; strangers are admitted at any time).

The Museum of Antiquities is on the first floor. On the Staircase are
Etruscan and Latin inscriptions and unimportant Roman sculptures. The
Corridor contains casts of Etruscan inscriptions and funeral urns. — R. II.
Etruscan vases and terracottas; vases in 'bucchero nero\ etc. — R. III.
Cinerary urns. — R. IV. Bronzes. — R. V. Vases with black and with red
figures. — R. VI. contains the longest Etruscan inscription known (Tatmlse
Perusinse), found near the town in 1822. In the middle of the room, a
bronze helmet. In front of the window, Terracotta urn in the form of a
recumbent man, who is being seized by a goddess of death with the features
of a fiend; the hollow interior once contained the ashes of the deceased.
The glass-cases by the window contain bronze mirrors , including one
with representations from the myth of Helen. In the case to the right
of the door, Mountings of a chariot with figures and ornamentation in
the most archaic style of eastern Greece. In the case to the left of the
door, Gold ornaments ; in the centre, large gold earring with a female
head. — R. VII. Cyprian antiquities; Roman sculptures. — RR. VIII A IX
contain the Guabdabassi Collection, consisting chiefly of interesting ob-
jects from Etruscan graves. In the VIII. Room, at the entrance, Fine
mirror-case, with a representation of Dionysus on the panther, toilette
articles, and amber and coral ornaments, etc. (catalogue 1 fr.). In the
IX. Room, Collection of cut gems. — The next five rooms contain Chbistian
Antiquities. R. X. Ecclesiastical utensils, chalices, crucifixes, ivory carv-
ings, including a circular piece with chessmen and a representation of
French knights starting for the chase (14th cent.). — R. XI. To the left:
Coffin of Bishop Baglione, with a sumptuous velvet covering (15th cent.);
episcopal vestments of the 16th cent. ; richly carved panels from the con-
fessionals of Sant' Agostino, perhaps by Barili. — R. XII. Reliquary con-
taining the remains of the condottiere Braccio Fortebraccio , who fell at
the siege of Aquila on 5th June, 1424 (formerly in San Francesco dei Con-
ventuali). At the exit, Voting-urn used in municipal elections, with the
arms of the guilds (14th cent.). On the walls are weapons. — R. XIII.
The glass-case in the centre contains three "Masterpieces of enamel work
('champs leveV): a goblet which once belonged to Pope Benedict XI.
(d. 1304), and a cup and plate or saucer executed by Cataluzio di Pietro
of Todi (14th cent.). Terracottas. In the corners at the back: to the right,
Madonna by Agostino d' Antonio di Duccio; to the left, Bust of one of the
Baldeschi family (15th cent.). At the door is a fine terracotta relief of St.
Francis, by Luca della Rolbia. On the walls, majolica; below, wattle
irons belonging to distinguished families of Perugia. — R. XIV. Collection
of coins. — The Corridor contains mediaeval sculptures; fragments from
the Maesta delle Volte (p. 64), by Agostino a" Antonio di Duccio (1475), and
a model of the Fonte Maggiore (p. 64).

The University Church contains mediaeval works of art, including an
8th cent, tabernaculum and an early-Christian sarcophagus, and plaster casts.

The Coitso Gaeibaldi (PI. B, C, 1; p. 65), which begins at the
Piazza Fortebraccio , leads past the piazza in front of the church of
Sunt' Agostino, the choir of which contains fine wood-carvings by
Baccio d'Agnolo (1502 and 1503) and drawings attributed to Peru-
gino. To the right is an oratory containing pictures by Alfani,
Scaramucci, etc. About 8 min. farther on, to the right of the Porta
Sant' Anyelo (comp. inset map on the Plan), is the interesting church
of Sant' Angelo, a circular structure with 16 antique columns in the
interior, probably dating from the 6th cent, with later additions.

San BemardffiSl FEKTTGTA. 9. Route. 67

A vaulted passage under the clock of the Palazzo del Municipio
(p. 63) leads from the Corso Vanucci to the Via db' Pbioki (PI. C, 4),
the best route to the sights of the W. quarter. The Via Deliziosa,
the first turning to the right in the Via della Cupa, which diverges
to the left at the Chiesa Nuova (PI. C, 3, 4), contains the House of
Perugino (denoted by a tablet).

We continue to descend the Via de' Priori, passing the mediae-
val Torre degli Scirri (PI. B, 3), and the Madonna della Luce, a pleas-
ing little Renaissance church of 1519, and reach an open space on
the right. Opposite us here rises the —

*Oratorio di San Bernardino (PL A, 3). The early-Renaissance
facade, executed by Agostino d' Antonio di Duccio , a Florentine
sculptor, in 1457-61, is a magnificent polychrome work, in which
both marble and terracotta are employed, while the ground of the
numerous and very elaborate sculptures is also coloured (Saints in
Glory, six Franciscan Virtues, and angelic musicians). A picture in
the interior, representing the consecration of the church, contains
a fine view of the facade.

Adjacent is the former convent of San Francesco al Prato
(PI. A, 3), recently restored and now occupied by the Accademia
di Belle Arti. It was for the church of this convent (now much
dilapidated) that Raphael painted the Entombment now at Rome
(p. 194). In the crypt are frescoes of the 13th cent. (Betrothal
and Death of the Virgin).

To the E. of the Corso Vanucci, and parallel with it, stretches
the Piazza Giuseppe Garibaldi (PI. C, D, 4), formerly Piazza del
Sopramuro, resting on extensive substructures, portions of which
belong to the ancient Etruscan town-walls. In the centre is a bronze
Statue of Oaribaldi, by Ces. Zocchi. On the E. side of the Piazza
rises the attractive Palazzo del Capitano del Popolo, afterwards the
Palazzo del Podesta, dating from 1472; adjoining it is the Old
University, built in 1483 ; both edifices are now occupied by courts
of justice {Tribunali; PI. D, 4).

The Via Baglioni leads hence towards the S. to the Piazza Vittorio
Emanuele (p. 62). "We descend here immediately to the left, passing
the substructures of the old citadel, where an ancient gate , called
Porta Marzia (PL D, 5), with interesting sculptures and the in-
scriptions Augusta Perusia and Colonia Vibia, which was removed
from its old site to make way for the fortress, has been re-erected. —
We turn to the left here , and follow the Viale Carlo Alberto,
at the end of which , to the left , rises the small Gothic church
of Santf Ercolano (PL D , 5) , with an altar above an ancient
sarcophagus.

Following the Coeso Cayouk (PL D, E, 5, 6), we reach, to the
left, the church of —

68 Route 9. San Domenico.

*San Domenico (PI. D, E, 6), a Gothic edifice built by Giov. Pi-
sano (?) after 1304, and almost entirely re-erected by Carlo Maderna
in 1614, with a lofty campanile, part of which has been taken down.

In the Left Transept is the Monument to Pope Benedict XI., who
fell a victim to the intrigues of Philip IV. of France, and died in 1304
from eating poisoned figs. It is one of the most famous monuments of
its kind, though its ascription to Giovanni Pisano is mistaken; above the
recumbent figure of the pope rises a lofty canopy, borne by spiral columns
and adorned with mosaics (above is a Madonna between St. Dominic and
the kneeling pope on one side and St. Herculanus on the other). On the
adjacent wall is the monument of Bishop Benedetto Guidalotto (1429). —
The Choiu, with a rectangular termination, contains a huge Gothic window
filled with rich stained glass, the largest of its kind in Italy (218 sq. yds.),
executed in 1441 by Fra Bartolomeo of Perugia, and recently restored.
This window belonged to the original church. — The inlaid Choir Stalls
(tarsia) date from 1476-96. — The fourth chapel (Cappella del Rosario) in
the Right Aisle has a large altar by Agostino d? Antonio di Duccio (1459).

After a few minutes more we pass through the Porta San Pietro
(PL E, 7), richly decorated by Agostino d' Antonio di Duccio (1473),
and reach the old Benedictine monastery (now an Institute of
Experimental Agriculture) and church of —

*San Pietro de' Cassinensi (PI. F, 8 ; entrance in the first court
in the corner diagonally opposite, to the left), with a massive Renais-
sance portal. The church, erected about the year 1000 by San Pietro
Vincioli of Perugia, is a basilica, consisting of nave, aisles, and a
transept, with a richly gilded flat ceiling, borne by antique columns
( 16 Ionic and 2 Corinthian) of granite and marble and two pillars, and
contains numerous pictures.

In the Nave, above, are eleven large pictures illustrating the life of
Christ, executedin 1592-94 by Ant. Vassilacchi, surnamedZMHemse, ot'Perugia,
a pupil of Tintoretto and Paolo Veronese. — The Right Aisle contains
several Umbrian pictures. The chapel of St. Joseph, adorned with modern
frescoes, contains, on the left, the monumental relief of a Countess Baldeschi,
in terracotta, from a drawing by Fr. Overbeck ; on the right, Holy Family,
a copy from Andrea del Sarto, by Pontormo. — Then, above the door
leading to the monastery, Two saints by Sassoferralo, after Perugino, and
a Holy Family after Bonifazio of Venice. Above the door leading to the
sacristy, Three saints, also after Perugino by Sassoferralo. — In the
Sacristy (shown by the custodian, 20-30 c.) are five small half-figures of
saints, by Perugino (which formerly surrounded the Ascension by the
same master, now in Lyons); Infant Jesus and St. John, a copy {not by
Raphael) of Perugino's large altar - piece at Marseilles ; Santa Francesca
Roinana, by Caravaggio. — The Choir Books are embellished with good
miniatures of the i'dth century.

The Choir Stalls, in walnut, are admirably carved and inlaid (tarsia)
by Stefano da Bergamo, 1535; the doors at the back are by his brother
Darnicmo, 1536. (The visitor should hiive these doors opened by the verger
and enjoy the splendid view obtained from this point of the Tiber and
the Chiaggio valleys as far as Assisi.). — Under the arch of the choir, on
each side, are ambones (pulpits) in stone, with reliefs on a golden ground,
by Franc, di Guido, 1487.

The Left Aisle, beginning at the upper end by the choir, contains a
picture by Angela di Baldassare, Mary with the body of Christ and two
saints, 1469. In the adjoining chapel is a marble altar with reliefs, partly
gilded, by Mino da Fiesole, 1473. In the next two chapels : pictures by
0. Reni, Giorgio Vasari, and others. Between these, on the wall of the
aisle: Judith, by Sassoferralo. Then, Adoration of the Magi, by Eusebio
di San Giorgio: Annunciation, after Raphael, by Sassoferralo; Pieta, a

Sep. dei Volunm. FEKUUIA. 9. Route. 69

copy of Perugino, part of a large dismembered altar-piece from the church
of SanC Agostino.

Close to San Pietro, on the opposite side of the street, is the
Oiardino del Frontone, extending to the Porta San Costanzo , and
commanding a magnificent prospect of the valley of Foligno and the
Apennines. — Outside the gate lies the church (restored) of San
Costanzo, dating from ahout 1100('?), with an ancient portal.

Ahout y2 M. beyond the Porta Pesa (PI. E, 2) is the church of
the Madonna di Monte Luce, with a fine ciborium by Francesco di
Simone of Florence (1483).

Outside the Porta del Carmine (PI. E, 3) lies the Cemetery
(comp. inset map on the Plan), containing a monument to the
champions of liberty who fell in 1859.

About 3 M. beyond the Porta San Costanzo (PI. F, 8), 3/4 M. on this side
of Ponle San Giovanni (p. 70), the Ancient Etruscan Necropolis of Perugia
was discovered in 1840. Carriage there and back, a drive of l>/2-2 hrs.,
12 fr. This expedition may be conveniently combined with the drive to
Assisi (p. 70). — The most interesting of the tombs, and one of the hand-
somest (though not the oldest) in N . Etruria, is the Sepolcro dei Volunni (the
tomb of the Volumnii, 3rd cent. B.C.; adm. 1 fr.), close to the road,
where it is intersected by the railway. A flight of steps descends to the
entrance, on the wall within which a figure of the sun-god is carved be-
tween dolphins. The tomb contains ten chambers, hewn in the coarse-
grained tufa. The cinerary urn of the Paterfamilias occupies the central
position, with a head of Medusa above it, and two genii of death hanging
from the ceiling. Hound it, and in the adjoining chambers, are other
cinerary urns, the carvings on which are extraordinarily expressive (one
hears traces of painting; another, on the left, in the form of a temple,
has an Etruscan and Latin inscription). — The smaller objects are now
preserved in a chamber built above, to the right of the entrance.

From Pekugia to Gubbio, about 23 M. (carr. in 4 hrs.). Leaving the
town by the Porta Sant' Antonio (PI. E, 1), the road crosses the Tiber
by the (4Vs M.) Ponle Feltino (656 ft.). — At (6 M.) Bosco the road to TJmbertide
(p. 56) diverges to the N. (diligence see p. 57). — Farther on our road
runs to the N.E. over a barren hilly district, skirting Monte Urbino (2750 ft.).
— 23 M. Gubbio, see p. 57.

From Perugia to Tom, about 28 M. (diligence, see p. 60). The road
descends rapidly to the S. into the valley of the Tiber, which it crosses
by the (772 M.) Ponle Nuovo (575 ft.), and then remains on its left bank.
The scenery presents no great attractions. — 9V2 M. Deruta (715 ft.) was from
the 16th to the 18th cent, the seat of a majolica industry. The church
of San Francesco contains a painting of God the Father, with saints, by
Fiorenzo di Lorenzo (1475). — 12'/2 M. Casalina.

28 M. Todi (1348 ft. ; Trattoria Garibaldi, Piazza Garibaldi, also rooms),
the ancient TJmbrian Tuder, with 3599 inhab., is situated on a steep hill. Its
ancient importance is indicated by the fragments of walls and the extensive
ruin of a supposed Temple of Mars (comp. p. 363), or of a Basilica. Al-
though poor in treasures of art, the town boasts several interesting edifices,
among which are the Romanesque Cathedral and the R..manesque-Gothic
Town Hall (containing a Coronation of the Virgin by Lo Spagna. 1511) in
the Piazza. The church of San Fortunaio possesses a handsome portal,
attributed to Lor. Maitani (c. 1320). The finest building of all, however,
is the pilgrimage-church of Santa Maria delta Consolazione, the interior of
which was begun in 1508 by Cola M;itteuccio da Caprarola, while the
exterior was completed in 1516-24 by Ambr. da Milano and Fr. de Vito
Lombardo. It is in the form of a Greek cross and covered with a dome,
added in 1606. The arms of the cross are also surmounted with domes,
and are polygonal in shape with the exception of the choir, which is

'0 Route 10. aooxoi. From Perugia

semicircular. The exterior is remarkable for its simple and massive style,
and the interior for its symmetrical proportions and the delicately graduated
ornamentation of its pillars. — Todi was the birthplace of Jacopone da
Todi (d. 1306), the supposed author of the 'Stabat mater dolorosa'.

From Todi to 'Naeni, 28 M., via, Rosaro, Castel Todino (1433 ft.) and San
Gemini. About 2 M. on this side of the last and about l/i M. to the E. of
the road, on the ancient, now abandoned Via Flaminia, are the interesting
ruins of the once prosperous Carsulae. The best- preserved relic is a city-gate,
known as the Arco di San Damiano. [From this point, with the aid of a
guide from San Gemini, we may ascend the Monte Torre Maggiore (3678 ft. ;
to the S.E.) in 2 hrs. ; the way passes L'Eremita (2570 ft.), an old convent.]
On the highroad, about Vs M. farther on, is the mineral spring of San
Gemini (well-house). From San Gemini fT'/j M. from Narni) two roads
descend gradually to the beautiful valley of the Hera, one leading to the
S.E. to Terni (see p. 82; diligence from Todi in 7 hrs., 5 fr.), and the
other to the S. to Ifarni (p. 85).

10. From Perugia to Foligno and Orte (Rome).

77 31. Railway. Express (after Foligno onh) in 4'/* nrS- (fares 15 fr. 40,
10 fr. 80 c, 7 fr.); ordinary train in 43/4 hrs. (14 fr. 40, 10 fr. 10, 6 fr. 50 c).
— The most interesting points are Assist, Spoleto, and Terni. It is some-
times advisable to exchange the railway for the road; in this way the
Tomb of the Volumnii (p. 69) may be visited by driving from Perugia
to Assisi (one-horse carr. 10, there and back 15 fr.), and the Temple of
Clitumnus (p. 78) between Foligno and Spoleto. — From Perugia to Rome,
129 M., in 6-71/2 hrs.

Perugia, see p. 59. The train descends, passing through
several tunnels. To the left we obtain a glimpse of the tomb of the
Volumnii (p. 69), and a pleasing retrospect of Perugia. — 7M. Ponte
San Giovanni. The train crosses the Tiber, which was the ancient
frontier between Etruria and Umbria and here breaks through the
Umbrian mountains in a S.W. direction. We then cross the Chiaggio
(p. 57). The valley which the train now follows as far as Spoleto
(p. 78) forms a prolongation of the upper valley of the Tiber, to
the W. of the main ridge of the Apennines. — 13 M. Bastia.

15 M. Assisi (715 ft.). The town lies on a hill to the left (cab
I fr., there and back l1/^ fr. ; omn. 1 fr.).

Before ascending to Assisi the traveller should visit the magnifi-
cent pilgrimage - church of *Santa Maria degli Angbli, about
i/i M. to the "W. of the station, on the site of the original oratory of
St. Francis. It was begun in 1569 by Vignola, after whose death in
1573 it was continued by Qaleazzo Alessi and completed by Giulio
Danti about 1640. The nave and choir were re-erected after the
earthquake of 1832; the dome was also injured.

The Interior contains, below the dome, the Oratory of the saint (called
Portiuncula), the cradle of the Franciscan order, on the facade of which
is St. Francis receiving the indulgence of the Portiuncula ", a fresco by
Fr. Overbeck (1829). On the back are remains of a fresco of the Crucifixion,
by Perugino. The altar-piece (Annunciation) is by the Presbyter Harms de
Viterbo (1393). Behind the Portiuncula is the cell where St. Francis died,
with frescoes by Lo Spagua and a terracotta "Statue of the saint by L.
della Robbia. — In the Cappella di San Giuseppe, in the left transept, is

to Orte. ssbibi. 10. Route. 71

an altar with terracotta reliefs by Andrea delia Mobbia (Coronation of the
Virgin, St. Francis receiving the stigmata, St. Jerome). — To the E. of
the sacristy is a little garden in which the saint's thornless roses bloom
in May. Adjacent are the Cappella delle Rose, containing frescoes from
the life of the saint by Tiberio d'Assisi (1518), and the hut of St. Francis,
over which an oratory was erected by Bonaventura.

A small hamlet (Albergo Porziuncula, clean) has sprung up round
the church, whence a beautiful path leads to (3/4 hr.) —

Assisi. — Hotels. Leone (PI. b; D,3), Piazza Vescovado 5, R. 172-2,
B. 3/4i dej. 2, D. 3, pens. 572, omn. 1 fr. ; Albergo del Sobasio (PI. a;
B, 2), with a fine view, adjoining the monastery of San Francesco, E. 2-272,
B. 1, dej. 2V2, D. 3V2i pens. 7-9, omn. 1 fr. — Giotto, near the Porta San
Francesco (PI. B, C, 2), R. O/2, B. 3/4 fr. ; Minerva, near the last-mentioned,
R. from I72 fr., unpretending.

Photographs from Giotto's frescoes sold by P. Lunghi, Via Principe
di Napoli, near the Piazza San Francesco (PI. C, 2) and by 0. Carloforti
(opposite).

Assisi (1345 ft.), a picturesque town and episcopal see (pop.
5338), the ancient Umbrian Asisium, was the birthplace of the
elegiac poet Propertius (B.C. 46) and of St. Francis, to whom it
mainly owes its fame.

St. Francis of Assisi was born in 1182. He was the son of the rich
merchant Pietro Bernardone and his wife Pica, and spent his youth in
frivolity. In 1201 he was captured while engaged in a campaign against
Perugia, and his imprisonment and subsequent dangerous illness turned bis
thoughts to higher things. In 1208 he founded the monastic order of Francis-
cans t which speedily found adherents in all the countries of Europe, and
was sanctioned in 1210 by Innocent III., and in 1223 by Honorius III. Pov-
erty and self-abnegation formed the essential characteristics of the order,
which under different designations (Seraphic Brethren, Minorites, Observan-
tes, and Capuchins, who arose in 1526) was soon widely diffused. St. Francis
is said to have been favoured with visions, the most important of which
was that of 1224, when Christ impressed on him the marks of his wounds
(stigmata). From the 'apparition of the crucified seraph' the saint is also
known as Pater Seraphicus. St. Francis died on 4th Oct., 1226, and in 1228
was canonised by Gregory IX. Dante (Paradiso xi. 50) says of him that
he rose like a sun and illumined everything with his rays. In the 18th
cent, the Franciscan Order possessed 9000 convents with 150,000 monks;
and the general of the order was subject only to the pope. Comp. Paul
Sabatier's Life of St. Francis of Assisi.

Having reached the town, we proceed to the left to the conspicu-
ous old *Monasteb.y op thb Franciscans (San Francesco; PI. B, 2)
on the brow of the hill, which was finished soon after 1228 upon
massive substructures. It was suppressed in 1866, but a few monks
have been allowed to remain here till their death. Part of the
building has been converted by government into a school for the
sons of teachers. Visitors are admitted (8-11 and 2-5; fee 50 c.)
by the iron gate to the left of the entrance to the lower church. It
contains several frescoes of the 16th and 17th centuries and (on the
outer wall) a statue of Sixtus IV. From the external passage a
magnificent view is enjoyed.

The two *Cht;kches, erected one above the other, are objects
of great interest. The Crypt, with the tomb of the saint, was
added in 1818, when the rude stone sarcophagus containing his re-
mains was re-discovered.

72 Route 10. .tt.00101. From Perugia

The Lower Chuech is always accessible ; entrance by a side-dooi
on the terrace (best light in the forenoon). It was begun in 1228,
continued after 1232 by Filippo da Campello, and completed in 1253.
Originally the church consisted of a nave of four bays with groined
vaulting supported by wide circular arches, a W. transept, and a
semicircular apse. About 1300 the Gothic chapels and the E. tran-
sept were added, while the S. portal dates from about the same
period, though the vestibule in front of it, with its rich Renaissance
decoration, was not erected till the 15th century.

To the right of the entrance is a tomb of the 14th cent., with an urn
of porphyry, beside which is the magnificent 'Tomb of the Queen of Cyprus',
of the close of the 13th cent., the recumbent figure on which probably
represents Jean de Brienne, king of Jerusalem and Byzantine emperor
(d. 1237). — The adjoining Cappella di Sant' Antonio Abbate contains
the tombs of a count of Spoleto and his son (14th cent.). — Opposite the
entrance is the Cappella del Ckocefisso, with some unimportant fres-
coes of the 14th cent. ; by the pillar to the left, Consecration as cardinal
of Egidius Albornoz (d. 1367), founder of the chapel, who is buried here.
Fine stained-glass windows of the 14th century.

The Nave was painted by predecessors of Cimabue. The hexagonal
Cappella di San Martino, the first on the left, is adorned with frescoes
of scenes from the life of the saint, by Simone Martini of Siena. — Above
the pulpit: Coronation of the Virgin, by GiottinoQ). — To the right of the
nave are (1) the Cappella di Santo Stepano, with frescoes from the life
of the saint, by Dono dei Demi (1560); (2) Cappella di San Antonio da
Padova, the frescoes in which have been repainted; and (3) the Cappella
di Santa Maddalena, adorned with frescoes, representing scenes from the
life of the saint and of Maria .fligyptiaca, ascribed to Buffalmaco, but per-
haps^by Giotto himself.

The Right (N.) Transept contains on its right wall scenes from the life
of Jesus, by Giotto, assisted by his pupils. Adjacent, Madonna with four
angels and St. Francis, by Cimabue. — On the left wall the series of fres-
coes from the life of Jesus is continued : Flight into Egypt , Massacre of
the Innocents, Jesus in the Temple; St. Francis, and Death as Conqueror.

— On the N. transverse - wall : Miracles of St. Francis and the Annun-
ciation, by Giotto; Saints and Madonna, by Simone Martini. — At the end
of the S. transept is the Cappella del Sacramento, with frescoes from the
life of St. Nicholas, perhaps by Giotto in his youth, and the tomb of
Cardinal Gian Gaetano Orsini (d. 1339), who is represented in the stained-
glass windows.

The High Altar occupies the spot where the remains of St. Fran-
cis once reposed. Above it are four triangular spaces on the groined
vaulting , containing the famous ^Frescoes of Giotto , illustrative
of the vows of the Franciscan order: poverty, chastity, and obed-
ience; the fourth painting is an apotheosis of St. Francis. The first pic-
ture represents the nuptials of St. Francis with Poverty in rags ; Hope,
next to whom is Love, has handed the ring to the bride. In the next
picture Chastity appears in a tower, while in the foreground a monk is
being baptised by angels. Purity and Bravery are bestowing on him _a
banner and shield, while on the right angels, with penances as their
weapons, are combatting the demons of lust. Obedience, enthroned between
Prudence and Humility, is further symbolised by the laying of a yoke on a
monk. Each scene, moreover, is replete with allegorical allusions (such
as abound in Dante), most of which will be readily understood by those
who are versed in the fanciful combinations of the period.

The Left (S.) Transept contains scenes from the Passion, and (on
the left wall) a much damaged Crucifixion by Pietro Lorenzeiti {not Pietro
Cavallini) and a Madonna between SS. Francis and John, by the same.

— In the Cappella di San Giovanni is a Madonna with saints, by L»
Spagna (1516).

to Orte. ASS'ISI. 10. Route. 73

In the Sackistt, over the door of the second apartment, is a portrait
of St. Francis, dating from the close of the 13th century. A magnificent,
piece of tapestry, which belonged to of Sixtus IV., is kept here and hung
over the organ on Oct. lst-3rd.

The Crypt (p. 71) is approached by a double staircase, and is lighted
with candles when visited by strangers. — Behind the tomb stand colossal
statues of Popes Pius VII. and IX.

The Upper Chukch (completed in 1253) is entered either by
the principal portal, or (by applying to the sacristan) from the lower
chureh (by the stairs ascending to the right of the entrance to the
sacristy). The chuich is in the form of a Latin cross, with fine
Gothic windows, and contains several noteworthy frescoes (restored).
The E. side possesses a Gothic portal. The pulpit in the nave
dates from ca. 1350, the episcopal throne in the choir from ca. 1250,
and the stalls from 1501.

The W. end of the church is adorned with much-damaged frescoes
by Cimabue (or, according to some, by Giunta Pisano). In the S. Transept,
as we enter from the lower church , are a Crucifixion , Scenes from the
Apocalypse, angels, and saints; in the Choir, Assumption and Death of
the Virgin; in the N. Tkansept, a Crucifixion, and History of St. Peter.
In the vaulting of the choir and nave are Evangelists and Church
Fathers. — Nave. In the upper section of one wall are sixteen scenes
from Old Testament history, from the Creation of the world to the
Recognition of Joseph by his brethren; on the other wall, sixteen scenes
from the New Testament, from the Annunciation to the Descent of the
Holy Ghost, by Pupils of Cimabue, showing gradual improvement in
execution. The lower section contains twenty -eight "Scenes from the
life of St. Francis, probably by Giotto and his contemporaries (ca. 1290-
95): 1. (at the right transept) St. Francis receives honour while a
youth; 2. He clothes the poor; 3. His vision of a palace and weapons;
4. Warned by the crucifix in San Damiano ; 5. Restores his apparel to his
father, and is enveloped in a bishop's cloak; 6. Appears to Pope Inno-
cent III., supporting the Lateran; 7. Receives licence to preach; 8. Ap-
pears to his brethren in a fiery chariot; 9. Vision of his appointed seat
in heaven ; 10. Expels evil spirits from Arezzo ; 11. Offers the ordeal of
fire to the Sultan; 12. Hovers in the air while praying; 13. The infant
Christ awakes in the saint's arms, as the latter is constructing a manger
for the Christmas festival; 14. Miraculous production of a spring of
water; 15. Sermon to the birds; 16. Predicts the death of a nobleman;
17. Preaches before Honorius III. ; 18. Appears at the Council of Aries ;
19. Receives the stigmata; 20. His death; 21. Appears to a dying man;
22. A doubter convinced by the stigmata; 23. Parting from St. Clara;
24. Canonisation; 25. Appears to Pope Gregory IX.; 26. Cures a wounded
man in Spain ; 27. Confesses a dead woman ; 28. Frees a repentant heretic.

Quitting the upper church and emerging on the space in front of
it, we descend the steps to the right and follow the unpaved street
ascending thence to the Via Principe di Napoli. On the right is
the Civile Nosocomio (No. 13; Pi. 4, 0, 2), a hospital. Near the
latter is the Cappella dei Pellegrini (recognizable by the defaced
frescoes over the door) adorned with frescoes by Mezzastris (p. 76)
and Matteo da Oualdo (1468), representing the miracles of SS.
Anthony and James the Great. Farther on, to the right of the
fountain, is an arcade of the 13th cent., formerly the Monte
Frumentario.

In the Piazza Vittorio Emanuele rises the beautiful *Portico of
* Temple op Mineeva (PI. 9; D, 3), perhaps of the Augustan

74 Route 10. ASSISI. From Perugia

period, with six Corinthian columns of travertine, converted into
a church of Santa Maria delta Minerva. The inscription, made out
from the nail-holes of the bronze letters, tells us that the build-
ers were the brothers 0. and T. Caesius. Ancient inscriptions im-
mured in the vestibule. — An iron gate in the pavement in front
of the church is the entrance to the ancient Forum (uninteresting),
which corresponded to the present Piazza, but lay considerably lower.
In the forum is a Base for a statue, with a long inscription (key at
the Guardia Municipale; fee '^fr.).

The Chiesa Nuova (PI. D, 3), a small but tasteful edifice of
1615, reached by descending to the right, near the S.E. angle of
the Piazza, occupies the site of the house in which St. Francis was
born in 1182 (p. 70).

The Piazza San Rufino, in the upper town, is embellished with
a bronze copy of Dupre's Statue of St. Francis in the cathedral,
erected in 1882.

The Cathedral of San Rufino (PI. E, 3), named after the first
bishop (240), was completed in 1140, and the crypt in 1228. The
ancient facade is adorned with three fine rose-windows. The in-
terior, which was modernised in 1571, contains a marble statue of
St. Francis, the last work of Giovanni Bupre; a Madonna with four
saints by Niccolb da Foli.gno (in the nave, to the right); and fine
choir-stalls by Giovanni da San Severino (1520).

From the cathedral an unpaved road descends to the left to the
Gothic church of Santa Chiara (PI. E, 4), near the gate, erected
by Fit. de Campello in 1257 et seq. The massive buttresses have
been restored. Beneath the high-altar are the remains of St. Clara
(1 194-1253), who, inspired with enthusiasm for St. Francis, abandoned
her parents and wealth and founded the order of Clarissines (see
below). A handsome crypt of differently-coloured marbles has been
constructed about her tomb since 1850. On the arch above the high-
altar are frescoes by Giottino (?) ; and in the Cappella di Sant'
Agnese (right transept) are damaged frescoes in the style of Giotto.

The Giardino Pubblico (PI. F, 4), to the S. of the cathedral,
between the Porta Nuova and the Porta Cappuccini, contains some
fine oaks and commands a good view of the town and its fertile
valley. A little farther on, to the N.E. of the Piazza Nuova, are the
ruins of a Roman Amphitheatre (PI. F, 3). — About l/2 M. outside
the Porta Nuova (PI. F, 4) is the Convent of San Damiano (1000 ft.),
erected by St. Francis, the first abbess of which was St. Clara (see
above). The cloisters contain frescoes by Eusebio di San Giorgio
(1507) representing the Annunciation and St. Francis receiving the
stigmata.

A magnificent view of the town and environs is obtained from
the Castello or Rocca Maggiore (1655 ft. ; PI. D, E, 2), above the
town, reach ei-fiaiu. the siaaza ia^bout y2 hr. The custodian is to
be found in 1ihe piazza.

to Orte. F0L1GN0. 10. Route. 75

A beautiful and interesting walk (ca. l'/4 hr.) may be enjoyed by
descending from the Porta San Giacomo (PI. C, 2) by the Via di Fontanella
to (20 min.) the Ponte Santa Croce (whence the Col Oaprile, 1938 ft., may
be ascended in 1 hr.). We then retrace our steps for 250-3C0 paces, take
the footpath diverging to the right, and cross a second bridge over the
shallow Tescio, who^e right bank we follow to the (20 min.) Ponte San
Vittorino (PI. A, 1). Thence we return to the Porta San Francesco (PI. B,2. 3).

In a ravine of the Monte Subasio (4230 ft.), to the E. of Assisi, is situ-
ated the hermitage delle Carceri ('2300 ft.), to which St. Francis retired for
devotional exercises. Near the chapel are a few apartments built in the
14th cent., and the rock-bed of the saint. It is reached on foot from the
Porta Cappuccini (PI. F, 4) in IV2, with donkey in 1 hr.

The carriage-road from Assisi to Spello is very attractive (one-
horse carr. 4-5 fr. ; on foot 2 hrs.). To the right of the road as the
town is approached are the ruins of an Amphitheatre of the imperial
period (not visible from the railway).

22 M. Spello (1030 ft.; Brozzi; Preziosi), a town of 5155 inhab.,
picturesquely situated on a mountain-slope, is the ancient Colonia
Iulia Hispellum. The gate (Porta Consolare) near the station, with
three portrait-statues, as well as the Porta Urbana and the Porta
Veneris, are ancient.

The *Cathedral of Santa Maria Maggiore, built in the 16th cent,
(facade begun in 1644), contains good paintings.

The holy-water basin to the right of the entrance is formed of an
ancient cippus. To the left the Cappella Baglioni with frescoes by
Pinturicchio (1501) : on the left , the Annunciation (with the name and
portrait of the painter) ; opposite to us the Adoration ; to the right, Christ
in the Temple; on the ceiling, four Sibyls. The pulpit is by Simone da
Campione (1545). — The Choir contains a magnificent canopy in the early-
Renaissance style by Rocco da Vicenza (1515). On the left a Pieta, on the
right a Madonna by Perugino, 1521. — In the Cappella del Santissimo
Sacramento is a Madonna by Pinturicchio (under a wooden cover which
is opened by the verger). — A building on the right of the church contains
a majolica pavement made at Deruta (1566).

Sant' Andrea contains (3rd altar to the right) an altar-piece,
Madonna and saints , by Pinturicchio and Eusebio di San Giorgio
(1508), with a letter from G. Baglione to Pinturicchio painted upon it.

Among other antiquities the 'House of Propertius' is shown,
although it is certain that the poet was not born here (p. 71). In
the Palazzo Comunale and on the church-wall of San Lorenzo are
Roman inscriptions. San Girolamo, outside the town, contains an
interesting tempera painting of the Marriage of the Virgin by an un-
known master. The upper part of the town commands an extensive
view of the plain, withFoligno and Assisi. Traces of the earthquake
of 1832 are still observed.

The train crosses the Topino and reaches —

25 M. Foligno, the junction of the Ancona line (R. 15).

Buffet (dej. incl. wine 2V2 fr.) at the station. — 'Posto' (seat in a
carriage) to the town 0/4 M.) 40 c, including luggage.

Hotels. 4Posta , by the gate, in the Via Cavour, the main street,
R. 3-4, pens. 772-10 fr., with good restaurant and cafe; Alb. & Trattoria
Dst ' " " Trattoria Falcone,Via, Cavour. —

Post mo.

<b Route 1 w. iu^ium,, From Perugia

Foligno (771 ft.), a town with 9532 inhab., various industries,
and an episcopal residence, lies in a fertile district, a little to the
W. of the ancient Fulginiae. In 1281 it was destroyed by Perugia,
from 1305 to 1439 it was governed by the celebrated family of the
Trinci, and in 1439 annexed to the States of the Church. The
earthquake of 1832 occasioned serious damage.

At the entrance to the town is a marble statue (1872) of the
painter Niccolb di Liberatore, surnamed Alunno, the head of the
school of Foligno (p. 61).

The Via Cavour leads to the Piazza Vittorio Emanuele.

The Via Giuseppe Piermarini on the right conducts us to the
old Chiesa di Betelemme, at the corner of the first side-street, ac-
commodating the Pinacoteca (which, however, is about to be trans-
ferred elsewhere). The latter contains a few Roman sculptures (relief
representing circus-games) and some paintings by Umbrian masters:
Pier Antonio Mezzastris of Foligno, 1. Madonna and angels, 3. Ma-
donna with SS. John and Dominic, 4. Crucifixion, 5. Madonna with
SS. Francis and John ; in the middle, 57. Dono dei Doni, St. Catharine.

In the Piazza Vittorio Emanuele is the S. facade (restored in
1903) of the Cattbdralb San Feliziano, with a Romanesque portal
(1133). The interior was modernised in the 16th and 17th centuries.
To the left of the choir is an octagonal chapel, by Antonio da San-
gallo the Younger (1527) ; some of the columns in the crypt date
from the 9th century. — Opposite the side-portal is the Palazzo
Orfini, with a Renaissance facade, unfortunately much injured.
A little to the N. is the pretty Oratorio della Nunziatella (15th cent.)
with a fresco by Perugino (Baptism of Christ; fee 20 c). — On the
E. side of the piazza rises the Palazzo del Ooverno, the seat of the
Trinci in 1398-1439. The chapel on the upper floor (custode in the
Municipio, at the other end of the market-place) contains damaged
frescoes by Ottaviano Nelli (1424 ; History of the Virgin, St. Joachim,
and St. Anna; in the vestibule, Romulus and Remus).

The Via Principe Amedeo, No. 22 in which, on the right, is the
handsome Palazzo Deli (1510), leads to the Piazza Giordano Bruno.
The old church of Santa Maria infra Portas, in this piazza, with a
portico of the 8th cent., contains several faded frescoes by Niccolo
da Foligno. — The Gothic church of San Domenico, opposite, is
now a gymnasium (Palestra Ginnastica).

The Scuola d'Arti e Mestieri, in the street of that name diverging
from the Via Principe Amedeo, contains casts of many almost in-
accessible monuments of Umbrian art, including the 'Temple of
Clitumnus' (p. 78). — In the Piazza San Niccolo is the church
of San Niccolo, the second chapel to the right in which contains
a large altar-piece (Nativity, with twelve saints at the sides and the
Resurrection above) by Niccolb da Foligno (1492); the chapel to the
right of the high-altar is adorned with a Coronation of the Virgin,
by the same master.

to Orte. tbevi 10. Route. 77

. ,Ab0?,t \ M; t0 th,e „E' of FoliSno "es the church of San Bartolomeo,
with a Martyrdom of St. Bartholomew by Niccolo da Foligno About
21/2 M. farther to the E., on the slope of the hills, is situated the Abbadia
di Sassovivo, with cloisters built in 1229, resembling those of San Paolo
Fuori at Eome (p. 399).

About 5 M. to the W. of Foligno is Bevagna (738 ft.; diligence twice
daily in IV2 hr., fare 1/2 fr.), with 3584 inhab., on the Glitumnus, the an-
cient Mevama ot the Umbri. It possesses the remains of an amphitheatre
and other antiquities. The little churches of San Silvestro and San Michele
(in the picturesque Piazza) dating from the 12th cent., have facades by
Binellus (1195) and Rodulfus (1201) respectively. The former is "restored
as a 'national monument'.

From Bevagna f3'/2 M.) or from Foligno direct (6 M. ; diligence twice
daily in 2 hrs 1 fr. ; carr. there and back 5-8 fr.) we may visit the loftv
Montefalco (1550 ft. ; Posta, near the gate, clean), with H397 inhab., one o'f
the best places for the study of Umbrian painting. In Sant' Agostino (not
far from the gate) is a Madonna with saints, of the Umbrian School (1522-
left wall). One of the most interesting churches is San Fkancesco (now a
national monument; fee 1/2-I fr.), in the Piazza Vittorio Emanuele; it was
built in the 14th cent., the portal dating from 1585. On the entrance-
wall, Annunciation and Nativity, by Perugino; wall of left aisle, Madonna
and saints by Tiberio d'Assisi (1510); Crucifixion, Miracles of St. Anthony
Sehool of Benozzo Gozzoli; Madonna, Tobias and the angel, and four saints
by Fra Agnolo da Montefalco (1506) ; last chapel in the left aisle, Crucifixion
and Christ appearing to Mary Magdalen, School of Giotto. The choir is
adorned with good frescoes by Benozzo Gozzoli (1452), representing the
legend of St. Francis, with portraits of popes, cardinals, and church-
lathers ; below the window, portraits of Dante, Petrarch, and Giotto.
The most important of the frescoes on the wall of the right aisle are
those by Benozzo Gozzoli (1452; Crucifixion, Christ blessing, four church-
fathers, Madonna and four saints). The chapel to the right of the choir
contains sculptures and wood-carvings from old churches. — Nearly opposite
to San Francesco is the small chapel of Santa Maria di Piazza, with a
Madonna by Franc. Melanzio of Montefalco (16th cent). The church of
San Leonardo, by the Porta di Spoleto, contains a Madonna and saints,
also by Melanzio (1515). — The church of San Foetunato, 1/2 M. beyond
the Porta di Spoleto, also possesses several interesting paintings. In the
Cappella di San Francesco (to the left in the court), Legend of St. Francis,
by Tiberio d' Assist (1512); over the entrance of the church are aMadonnawith
SS. Francis and Bernard and seven angels by Benozzo Gozzoli; on the right
wall, Madonna adoring the Holy Child, by Ben. Gozzoli (1450). — A walk
round the walls of the town affords magnificent "Views of the Umbrian plain.

The Railway traverses the luxuriant, well -watered valley of
the Clitumnus, whose herds of cattle are extolled by the ancient
poets, to —

30 M. Trevi (Locanda, near the Porta del Lago, poor). The
small town (1647 inhab.), the ancient Trebiae, lies on a steep hill
(1355 ft.) to the left. About halfway up is the church of Santa
Maria delle Lagrime (p. 78). The Pinacoteca in the Municipio
contains three works by Lo Spagna (1. Coronation of the Virgin,
after Ghirlandajo's painting at Narni, p. 85; 61. St. Cecilia; 65. St.
Catharine), a Madonna by Fiorenzo di Lorenzo, and a Crucifixion

(triptych) of the Umbrian School (15th cent.). The church of Scmt'

Emiliano, 12th cent., possesses an interesting portal (St. jEmilian

between two lions) and three richly-ornamented altars by Rocco da

Vicenza (1521).

An0ut '^ M- t,ey°nd tne Porta del Lago lies the church of San Mae-
Tmo (key at the Caffe Cecchini), with most interesting frescoes. In the

78 Route 1 From Perugia

outer chapel is a "Madonna in glory, surrounded with four saints, by Lo
Spagna (1512) ; above the entrance to the church, Madonna and two angels,
by Tiberio d' Assist; in the interior, St. Martin by Lo Spagna (? to the
left), and Madonna, St. Francis, and St. Anthony, of the School of Foligno
(to the right). — The church of Santa Maria delle Lageime, 3/i M. from
the Porta del Cieco (see p. 77), was built in 1487 by Antonio Marchissi
and possesses a fine portal by Giovanni di Gian Pietro of Venice, added
in 1511. In the 1st chapel to the left is a Resurrection, by an Umbrian
Painter; in the transept, to the left, Entombment, by Lo Spagna;
2nd chapel to the right, Adoration of the Magi, by Perugino; 1st chapel
to the right, Annunciation, Umbrian School.

The small village of Le Vene, the old posting-station of Sacraria,
is next passed. Near it, to the left, we obtain a glimpse of a so-
called Temple , sometimes regarded as that of Clitumnus mentioned
by Pliny (Epist. 8, 8). The elegant little building, however, now
known as the church of San Salvatore , was constructed of the
materials of ancient tombs not earlier than the 4th cent., as the
Christian emblems (the vine and the cross), the twisted marble col-
umns on the facade, and various inscriptions in the crypt and on
the foundations testify. Near Le Vene the clear Source of the Clit-
umnus, beautifully described by Pliny, wells forth from the limestone-
rock, close to the road (comp. Byron, Childe Harold, iv, 66seq.). —
34 M. Campello sul CLitunno, a village on the height to the left.
About 2 M. to the S. is the roadside village of San Qiacomo, with
a church the choir of which is adorned with interesting frescoes
by Lo Spagna (Coronation of the Virgin, Legend of St. James of
Compostela; 1526). Beautiful road through richly cultivated land.

40V2 M. SpoletO. — The town is 3/4 M. distant; one-horse carr. 1 fr.

Hotels. "Albeego e Eistoeante Lucini , Via Felice Cavallotti and
Piazza San Filippo, in the upper town, near the theatre, R. 2-2l/2, d£j- 2,
1> 3-5 (both incl. wine), pens. 5-7'/2 fr. (less for a long stay); Albeego e
Eistoeante Cambioli, Corso Vittorio Emanuele ; Posta, Piazza Garibaldi,
in the lower part of the town, near the Porta Leonina (PI. B, C, 1). —
Trattoria delta Ferrovia (also rooms), to the right of the gate. — Cafes:
Clari, Pennacchielti, Nicolai, all in the Corso Vitt. Emanuele. — Baths,
Piazza San Luca. — Post <b Telegraph Office, Piazza Collicola.

Spoleto (1000-1485 ft.), the ancient Spoletium, a small industrial
town (9631 inhab.), is prettily situated at the S. end of the valley
mentioned at p. 70. Very early the seat of a bishop, it is now an
archiepiscopal see. Truffles are found in great abundance in the
surrounding woods and are used in the preparation of preserved
foods. Mining (Miniere di Lignite) is also carried on to the N.W-
of the town. Its interesting works of art, its picturesque situation,
and its cool and refreshing climate combine to make Spoleto an
attractive place to visit.

In B. C. 241 a Roman colony was established in the ancient Umbrian
town , and in 217 it vigorously repelled the attack of Hannibal, as Livy
relates (22, 9). It subsequently became a Roman municipium, suffered
severely during the civil wars of Sulla and Marius, and again at the hands
of Totila and his Goths, after the fall of the W. Empire, though Theo-
doric the Great favoured it. The Longobards founded a duchy here (as in
Benevento) in 570, the first holders of which were Faroald and Ariulf.
After the fall of the Carlovingians, Quido of Spoleto even attained the dig-

to One. SWLETO. 10. Route. 79

nity of Emperor, as well as his son Lambert, who was murdered in 898.
In 1155 the prosperous town was destroyed by Frederick Barbarossa;
and in the beginning of the 13th cent, it was incorporated with the States
of the Church. The Castle of Spoleto , known as La Rocca (p. 80) , was
rebuilt in 1364 by Cardinal Albornoz, on the site of the ancient Arx and
completed by Pope Nicholas V. In 1499 it was inhabited by Lucretia
Borgia. It fell into the hands of the Piedmontese on 18th Sept., 1860, after
a gallant defence by Major O'Reilly, an Irishman.

Outside the Porta Leonina (PI. B, C, 1) are the (subterranean)
remains of a Roman Bridge ('Ponte Sanguinario'; 80 ft. long and
33ft. high), to which visitors may descend (electric light; key at
the Municipal Customs Office). The main street begins at the gate,
and, after traversing the lower part of the town under various names,
is continued through the upper town as the winding Via Umberto
Primo and Corso Vittorio Emanuele.

A little to the S.E. of the Porta Leonina, in the Via dell' Anfiteatro,
is the Caserma Severo Minervio, which contains the remains of a Roman
Amphitheatre (PI. C, 2), measuring 390 ft, by 295 ft.

About 5 min. from the gate a side-street diverges to the right,
passing under a gateway of the Roman period , called the Porta
d'Annibale, or Porta delta Fuga (PI. B, 2), in allusion to the above-
mentioned resistance to Hannibal. We may continue to follow the
main street, or take one of the direct but steep side-streets to the
Corso Vittorio Emanuele, which leads to the piazza of the same name.

The Piazza Vittokio Emanuele (PL B, 4), in the centre of
which is a Monument to Victor Emmanuel (1892), occupies the site
of a Roman Theatre (over 370 ft. in diameter), of which remains were
discovered beneath the piazza in 1891. The Via Sant' Agata, to the
right as we enter the piazza, leads to the convent-church of Sant'
Agata, now a prison, with traces of Roman construction. The Viale
Regina Margherita , near the Prefettura, leads to the left (S.) to the
Porta Romana (p. 81).

The Via Brignone ascends to the left from the Piazza Vittorio
Emanuele to the Piazza Montaui, and leads, a few paces farther on,
round the corner to the left, to the Via dell' Arco di Druso, which runs
under the half-sunken Triumphal Arch of Drusus and Oermanicus to
the Piazza del Mercato (PI. B, C, 4), the ancient Forum. The
small staircase adjoining the arch leads to a picturesque monas-
tery-court. — From this point we may enter the lower church oi
Sant' Ansano, with its damaged frescoes of the 11th cent., formerly
dedicated to St. Isaac, a Syrian monk who founded the hermi-
tages on the Monte Luco (p. 81). The church is built on the found-
ations (partly excavated) of a Roman temple , to which visitors are
admitted (electric light).

From the fountain (restored in 1748) in the Piazza del Mercato
the Via Municipio ascends to the Palazzo Municipale (PI. C, 3, 4),
which contains several inscriptions and the small Pinacoteca.

Pinacoteca. On the entrance - wall , early mediaeval sculptures. —
RoohII. Entrance-wall, Handsome chimney-piece of the beginning of the
16th cent. ; centre, Archaic inscription regulating the felling of timber in a

80 Route 10 From Perugia

sacred grove. — R. III. Entrance-wall, Madonna with saints, an admirable
fresco by Lo Spagna; right wall, Three virtues and putti, by Lo Spagna,
a Madonna, of the School of Antonello da Messina. — R. IV. Right wall,
Madonna, by Bern. Campello (1502).

Below the terrace in front of the Palazzo a Roman House with
rich mosaic pavements has been brought to light. The house, orig-
inally belonging to the mother of the emperor Vespasian (p. 82),
has been restored and adorned with the sculptures, coins, inscrip-
tions, etc., found on its site (entrance from the Pal. Municipale).

The Via dell' Arringo, beginning opposite the main entrance of
the Palazzo Municipale, leads past the Palazzo Arroni, with a fine
portal and graffiti of mythological scenes (16th cent.), to the —

*Cathbdral of Santa Maria Assunta (PI. C, D, 1), raised to its
present dignity in 1067 and restored in the 12th century. The mag-
nificent early-Renaissance vestibule was added after 1491; on each
side of it is a stone pulpit. Above, Christ with Mary and John, a large
mosaic by Solsernus (1207). The richly ornamented portal (after
1155), bears on the left the name of Qregorius Meliorantius.

To the right of the vestibule (built by Ambrogio da Milano) is a Bap-
tistery (Cappella Eroli), containing frescoes of the late-Umhrian school.
The travertine font, with sculptures from the life of Christ, is also by
Ambrogio da Milano. Several ancient fragments are built into the left side
of the vestibule.

The Interior of the cathedral was restored by Bernini about 1640. In
the chapel immediately to the right of the entrance are some fragments of
frescoes by Pintwicchio (1497) and a Crucifixion (1187), from Santi Giovanni
e Paolo. — The Choir contains "Frescoes (damaged), the masterpiece of
Fra Filippo Lippi, completed after his death by Fra Diamante in 1470:
Annunciation, Birth of Christ, and Death of Mary, in the semicircle,.
Coronation and Assumption of the Virgin. — At the entrance to the
chapel on the left of the choir , to the left , is the Tomb of Fra Filippo
Lippi (1412-1469). The monument was erected by Lor. de' Medici; the
epitaph is by Politian. Opposite is the monument of an Orsini, by Am-
brogio da Milano (1499). — The Winter Choir, in the left aisle, contains
some good carving.

In the Piazza del Duomo probably stood the palace of the Longo-
bard dukes (p. 78). Adjacent is the Chiesa della Manna d'Oro, an
elegant Renaissance building', founded in 1527. — The Via del
Seminario, between the churches, descends to the ViaTJmberto Primo
(p. 79). In a side-street lies the small church of Santi Oiovanni e
Paolo (PI. B, 3 ; key kept by the verger of the cathedral), which has
a subterranean oratory, with frescoes dating from the 11th century.

We now return to the Via del Municipio and follow it to the
Piazza Bernardino Campello (PI. C, 4), where a memorial slab
commemorates the capture of the fortress in 1860 (see p. 79). Passing
the fountain, we leave the upper part of the Piazza by a street to
the right, which passes immediately below the lower entrance of the
fortress of La Rocca (1486 ft.; see p. 79), now a prison. A little
farther on, near the Porta Rocca (PI. D, 4), we perceive, to the left,
polygonal foundations, being remains of the ancient town-wall.

Outside the wall is a profound ravine, spanned by the imposing
aqueduct *Ponte delle Torri, built of brick, which is used as a viaduct,

10. Route. 81

uniting the town with Monte Luco (see below). It rests on ten arches,
and is 290 ft. in height and 231 yds. in length. Its construction is
attributed to Theodelapius, third duke of Spoleto (604). The ground-
plan is apparently Roman, while the pointed arches indicate a restor-
ation in the 14th century. A window midway affords a view. Beyond
the bridge we turn to the left, ascend a stony path to the aqueduct,
and follow the direction of the latter. After 10-15 min. a more un-
broken prospect is obtained of the fortress, town, and valley.

Returning to the bridge, we follow the road that passes under
the arch of the aqueduct and runs to the S.W. along the edge of the
gorge. In 1/4 hr. we reach the church of San Pietro (1273 ft.),
founded in the 5th cent., and restored after its destruction in 1329.
The reliefs on the facade are of different dates : those from the
bestiaries (the wolf preaching ; the fox feigning death) at the central
portal are the oldest, and may date from the 11-1 2th cent. ; those
above (deaths of the righteous and of the sinner) are later. — At
the top of hill (2060 ft.) is the small basilica of San Giuliano, where
St. Isaac (p. 79) founded a monastery about 500.

A broad street leads in y4 hr. from San Pietro to the Porta
Romana (p. 79). Outside the gate (about 50 paces along the town-
wall to the W., then to the left) lies the church of San Paolo (1210 ft. ;
13th cent.), with a convent now used as a poorhouse; the church
contains some old frescoes. A picturesque walk may be taken to the
right to the Madonna di Loreto, founded in 1572, with a later portal,
and thence, following the arcades, to the Porta San Matteo (PI. A, 4),
whence the Via Loreto brings us back to the Via Umberto.

A road issuing from the Porta San Gregorio, crossing the bridge,
skirting the river to the right for 120 paces, and then ascending to
tbe left, brings us to the church of *Il Crociftsso, formerly San
Salvatore, the facade of which is conspicuous among the arcades of
the Campo Santo. This church, standing on a terrace within the
cemetery, was erected in the 4th cent, on the site of a Roman
temple, and was destroyed at an early date. The fine ancient Roman
doors have been preserved, but the ivy wreaths and consoles with
which they are adorned and also the three magnificent windows
which pierce the facade are the work of the Christian architects.
In the interior the nave was separated by twenty Doric columns
from the aisles, which were built up on the conversion of the church
into a monastery. Six antique columns with a Doric entablature are
still preserved in the choir ; and the octagonal dome rests upon
eight gigantic columns, with curious imposts. — In the neigh-
bourhood is the small 13th cent, church of Son Pomiano (PI. D, 1).

The ascent of Monte Luco (2723 ft. ; IV2 hr.) may be made from the
Ponte delle Torri, if time permit. Michael Angelo, when he visited (in
1566) the hermits who lived here, was enchanted with its natural beauties.
Refreshments at the Franciscan convent near the top (remuneration ex-
pected). The hermitages are now used as summer dwellings. The 'Fra
uuardiano' conducts visitors to the best points of view. To the N. and
E. lies the valley of the Clitnmnus with Trevi, Foligno, Spello, and

Bai- 6

82 Route 10. From Perugia

Assisi; then Perugia and the Central Apennines near Citta di Castello and
Gubbio. In the other directions the view is intercepted by the mountains
in the vicinity. Towards the E. these are over-topped by the rocky crest
of the Monti Sibillini, often snow-clad.

From Spoleto to Nokcia and Ascoli Piceno, 69 M., a highly pictur-
esque route, crossing the Apennines obliquely. A motor-omnibus runs daily
from the Porta Leonina (PI. B, 1) to (29 M.) Norcia in 3y2 (in winter 4) hrs.,
starting at 5, in winter at 6 a.m. ; fare 1st class 5, 2nd class 3 fr. ; luggage
25 c. for every 5 kilogrammes (111b.); one-horse carr. in 8 hrs., incl. halt
at Borgo di Cerreto, 13 fr. — The road at first ascends to the E. over
a wooded slope, with fine retrospects of the valley of the Maroggia,
and then descends beyond the (6 M.) mountain -pass of Forca di Cerro
(2400 ft.) in wide curves (short-cuts for walkers) via (8 M.) Grotti (1265 ft.)
to the deeply-sunk valley of the JVera, the right bank of which it then
follows towards the N.E. Between (11 M.) Piedipalerno (1092 ft. ; carriage-
road to Terni on the S.) and (16 M.) Borgo di Cerreto (fair quarters at the
diligence-office) it traverses several rocky ravines. Beyond Cerreto di Spoleto
it reaches (18 M.) Triponzo, where a road to (12]/2 M.) Visso diverges to the
left. We now turn to the S.E. and enter the valley of the Corno, a tributary
of the Nera; in this valley (ca. 7>/2 M. from Norcia) lay the ancient Vespasiae,
the birthplace of Vespasia Polla, mother of the Emp. Vespasian. The road
threads another rocky pass and enters the mountain-girt plain of Norcia
(Piano di Santa Scolastica), formerly a lake.

29 M. Norcia (1980 ft. ; Alb. detta Posta), the Roman Nursia, is a clean
little town with 4261 inhab. and several cloth-factories, situated at the W.
base of the Monti Sibillini and still surrounded by its ancient walls. It
was the birthplace of the Roman general Quintus Sertorius (d. 72 B.C.)
and also of St. Benedict (ca. 480-543), and his sister Scholastica. In the
Piazza Sertorio is a statue of St. Benedict. The church of San Benedetto
has an attractive Romanesque facade. The Municipio resembles a castle;
the Prefettura has early-Romanesque arcades. The Cathedral, with a Roman-
esque portal and a rose-window, lies in ruins. In a house in a side-street
is a Loggia with an early-Christian inscription.

About IV2 M. to the S. of Norcia the road to (40 M.) Ascoli turns to
the E., by the churchyard, and ascends to the crest of the mountains in
huge windings. [The bridle-path leads to S.E. to San Pellegrino, then ascends
rapidly through a stony ravine, and rejoins the road.] About 11 M. beyond
Norcia is the mountain-pass of Forca Cannapine (5060 ft.). At the top we
enjoy a glorious view: to the S.E. is the Gran Sasso (9560 ft.), to the N.E.
the Monte Vettore (8128 ft.), the highest summit of the Monti Sibillini (which
may be ascended from Casteluccio, 4766 ft., 4 hrs. to the N.E. of Norcia,
in 31/2 hrs., with guide). The bridle-path again quits the road and does
not again join it before (1572 M.) Capo d'Acqua (2755 ft.). A road diverging
to the S. about l'/4 M. farther on (diligence from Arquata) leads along the
W. slope of the Pizzo di Sevo (7946 ft.) and past Accumoli, Amatrice (birth-
place of Cola d'Amatrice, the painter), Montereale, Pizzoli, and San Vittorino,
to Aquila (see Baedeker's Southern Italy). Our road then leads to the N.E.,
through the fine valley of the Tronto, to (20 M.) Arquata del Tronto (Alb.
della Posta, beyond the village; post- omnibus to Ascoli, 2OV2 M., daily
in 4 hrs., starting early in the morning, and returning in the after-
noon in 5 hrs. ; fare 3 fr.). — 27i/2 M. Acquasanta, a summer-resort with
warm sulphur-springs, known to the Romans as Ad Aquas (carr. to
Ascoli 5 fr.). The valley expands. — 40 M. Ascoli Piceno, see Baedeker's
Southern Italy.

The Rail-way penetrates the limestone chain of the Umhrian
Apennines by means of a tunnel over 1 M. in length. — 51 M.
Oiuncano. Then a romantic rocky gorge.

58'/2 M. Terni. — The town is about 1/4 M. from the station (restau-
rant), and is connected with it by an electric tramway. One-horse cab
to the Piazza Vittorio Emanuele 50, two-horse 70 c. (at night 70 c and
1 fr.); box 20 c.

to Orte. TERwT. 10. Route. 83

Hotel. "Europa ed Inghilterra, Piazza Vitt. Emanuele 2, with baths
and restaurant, E. 2y2, L. 3/4, A. s/4, B. li/4, dej. 3, D. 5 (both incl. wine),
omn. V« fr- — Restaurants. Aquila dOro (also rooms), Strada Cornelio
Tacito30; Falco d'Oro, Strada Cornelio Tacito 21a (landlord procures bed-
rooms if desired). — Gaffe Elvezia, near the Europa.

Post Office, behind the Palazzo Pubblico. — Photographs at An-
gelicas, Via Nuova 8.

Electric Tramway and Carriages to the Waterfalls, see below.

Terni (426 ft.), an industrial town with 25,877 inhab. and the
junction of the railway to Solmona, is situated in the fertile valley
of the Nera (the Roman Nar), which was once occupied by a lake.
It represents the ancient Interamna Naliars, the birthplace of the
Emperor Tacitus (275 or 276 A.D.) and, many contend, of the
historian Tacitus (55-117 A.D.) as well. Remains of an amphi-
theatre in the grounds of the episcopal palace, Roman inscriptions
and fragmentary sculptures in the Palazzo Pubblico, the Biblioteca
(containing a Benozzo Grozzoli and other paintings), etc., are objects
of interest. Pleasant walk on the ramparts, whence the beautiful
Nera valley is surveyed.

Excursion to the Waterfalls of Terni. Visitors should take the
Electric Tramway as far as (5 M.) Collestatte. Cars leave the railway-station
and the Piazza Vittorio Emanuele every 10-15 min. for the (1V2M) Acciaieria
(see below), whence they run 8 times daily (in 23 min.) to Collestatte.
Passengers alight at ('20 min.) the station ('fermata') of Cascate Marmore
(41/2 M. ; p. 84). Fare 30 c. (between 11.30a.m. and 1.15p.m. and between 5.45
and 6.30 p.m., 20 c); no return-tickets. — Carriages (3/4 hr., back >/2 hr.),
by the lower road, where the tramways run ('dalla parte di fotto'), with
one horse 5, with two horses 7 fr., by the upper road ('dalla parte di sopra')
1 or 9 fr. ; round trip ('giro1), by the lower road and back by the upper
via Papigno (comp. p. 84) about 12 fr. (fee 1/2- 1 fr.); bargaining advisable,
and less than tariff-rates sometimes accepted. — By Railway (to Solmona,
see Baedekers Northern Italy ; few trains), to (10 M.) Marmore, V2 M. above
the falls (p. 84), in ca. 50 (back in 35) min. ; fares 2 fr. 5, 1 fr. 45, 95 c.

The traveller should be abundantly provided with copper coins. At
the different points of view contributions are levied by the custodians
(15-20 c); flowers and fossils from the Velino are offered for sale (also
not more than 15-20 c). Pedestrians should start early in the morning,
to avoid the heat.

The Electric Tsamwat (see above) runs to the S. from the
rail, station to the Piazza Cornelio Tacito, then turns to the E., and,
after crossing the bed of the brook Serra, traverses the plain (on
the right is a government manufactory of small arms). — li/2 M.
Acciaieria, with an armour-plate factory. — 2^4 M. Cerrara. The
valley of the Nera contracts. On each side tower lofty rocky hills,
with slopes clad in luxuriant vegetation , while in front appear
the ruins on the top of Monte Sant' Angelo (2000 ft.). — 3i/2 M.
Papigno Ponte (small restaurant), picturesquely situated on a soli-
tary rock to the right (see p. 84). — 33/4 M. Papigno Bivio, with
a generating-station (Stabilimento Carburo) on the S. bank, to the
right. — 43/4 M. Cascate Marmore, where passengers alight (see
Mow). — 5 M. Collestatte, the terminus (small restaurant), about
IV2 M. below the village of the same name.

84 Route 10. CASCATE' IJELLJ^MAKIYlORE. From Perugia

The Railway gradually ascends to the S. , across the plain of the
Nera, to (572 M.) Stroncone (787 ft.); the village (1479 ft.) lies 2 M.
to the S. Thence the line ascends rapidly, threading six tunnels,
after which we catch fine glimpses (left) of the upper valley of the
Nera. — 10 M. Marmore (Rail. Restaurant, very fair).

Leaving the station, we turn first to the right, and 150 paces beyond
the pointsman's hut No. 216, cross the railway. Paying no attention to
the 'Custodi delle Cascate' here lying in wait, we keep to the left for
about 10 paces, then turn to the right through vineyards and past some
cottages. We then pass through the gate on the right (when closed, fee
of 10-15 c), and finally (6 min.) turn to the left for the upper fall (p. 85).

The picturesque Upper Road (carriage, see p. 83) is reached
from the piazza at Terni by passing the Albergo Europa and de-
scending the Strada Garibaldi to the left. We at first follow the Rieti
and Aquila road, which crosses the Nera. just outside the gate,
traversing gardens and olive-plantations. After 2M. a broad road
to the left descends into the valley of the Nera, while the highroad
ascends gradually to the right in the direction of Le Marmoie (see
above). The former descends in windings past the village of Papigno
(p. 83), then (3/4 M.) crosses the Nera, and on the right bank,
near the Villa Graziani, reaches the lower road (electric tramway,
see p. 83), 1-1 '/4 M. from the falls.

The celebrated falls of the Velino (which here empties itself
into the Nera) , called the * Cascate delle Marmore , are about
650 ft. in height, and have few rivals in Europe. The rivulet is
precipitated from the height in three leaps of about 65, 330, and
190 ft. respectively, the water falling perpendicularly at some
places, and at others dashing furiously over rocks. The spray of the
falls is seen from a considerable distance.

The Velino drains a valley running parallel to and between the Umbrian
and the Roman Apennines. Near Hieti it traverses an old lacustrine ba*in,
not yet completely dried up. The stream is so strongly impregnated with
lime that its deposit (travertine) continually raises its bed; and the plain
of Eieti (1420 ft.) is therefore frequently exposed to the danger of inunda-
tion. In ancient times (B. C. 272) Manius Curius Dentatus helped to
counteract the evil by the construction of a canal, which, though altered,
is still in use. Two other canals were afterwards excavated, the Cava
Reatina or Gregoriana by Fieravante Fieravanti in 1422, and the Cava
Faolina by Paul III. in 1546; these, however, proving unserviceable,
Clement VIII. re-opened the original 'eimssarium' of Dentatus in 1598.
But new works are still from time to time necessary.

The finest views of the falls are obtained from the lower road
and from the following points. Before reaching the falls, we
may ascend a rough path to the left, leading in 10 min. to the
finest view of the upper and central falls. — We now return to
the road, retrace our steps (120 paces) to the cart-track on the left,
and cross the Nera by a natural bridge , below which the water
has hollowed its own channel. Where the path divides , we as-
cend gradually to the left. The surrounding rocks (in which
there is a quarry) have been formed by the incrustations of the Ve-
lino. The channel on the right (Cava Paolina) is full in winter

to Orte. N'ARm-. 10. Route. 85

only. A steep ascent of 20-25 min. to the left, with a fine view of
the fall, in the spray of which beautiful rainbows are occasionally
formed, leads to a small pavilion of stone on a projecting rock, afford-
ing a beautiful survey of the principal fall and the valley of the Nera.
We next ascend a flight of steps (4 min.), follow the path at the
top for a few minutes more, then turn to the right, and come to a
small house, with a garden through which we pass (10-15 c.J.
Then, beyond several houses, we reach in 8 min. the road to Rieti
and Aquila (p. 84), nearthe pointsman's cabin No. 216. The station
of Marmore (p. 84) is seen to the left.

If time permit, an excursion may be made by following the road to
the left (without crossing the railway), which in a few min. passes to
the right bank of the Velino. In less than 1/2 hr. we reach the beautiful
Tarn of Piediluco (1207 ft. ; 418 acres in area), where the road forks. The
branch to the right leads to the railway-station of Piediluco (1237 ft. ;
11 M. from Terni; fares 2 fr. 10, 1 fr. 50, 95 c), while the main road fol-
lows the bank of the lake (rowing-boat in ]/2 hr., V2-I fr) to the (40 min.)
village of Piediluco (tolerable inn), with its ruined castle (Eocca ; 1777 ft.).

The Railway to Orte intersects the rich valley of the Nera. To
the right on the hill lies Cesi (1433 ft.), 5 M. to the N.W. of Terni,
with remains of ancient polygonal walls and subterranean grottoes.
To the left, Collescipoli (781 ft.).

6672 M. Narni (787 ft.; Alb. Angelo, clean, with electric light
and view from the back- windows, R. li/gfr.)) the ancient Umbrian
Nequinum, the Roman Narnia, birthplace of the Emperor Nerva,
Pope John XIII. (965-72), and Erasmus of Narni, surnamed Gatta-
melata, the well-known 'condottiere' (d. 1443). Pop. 5200. It is
picturesquely situated, Y2 M. from the station, on a lofty rock on the
Nera, at the point where the river forces its way through a narrow
ravine to the Tiber (omn. up 75, down 50 c). The old castle (Rocca;
1089 ft.) is now a prison. — The Cathedral, erected in the 13th
cent., with a vestibule of 1497, and dedicated to St. Juvenalis, the
first bishop (369), contains a Renaissance altar-recess, dating from
the end of the 15th cent. (2nd chapel on the right), a wooden statue
of St. Anthony by Vecchietta (1475), and the tombstone of Bishop
Qormas (1515; 3rd chapel on the left). — The Town Hall, on the
fajade of which are 14th cent, sculptures, contains a Coronation of
Mary by Ohirlandajo, spoiled by retouching. The garden of the
church of San Bernardo (wooden statue of the saint in the interior,
by Vecchietta) affords a good view of the valley of the Nera.

Prom Narni to Perugia via Todi, see pp. 70, 69.

From Narni a road leads to the N.W. (diligence in 2 hrs., fare 2 fr.)
to the (6 M.) venerable and finely situated Umbrian mountain - town of
Amelia, Lat. Arneria (1332 ft. ; inn outside the gate), mentioned by Cicero
in his oration Pro Roscio Amerino, with admirably preserved Cyclopean
walls and other antiquities.

The train turns towards the narrowing valley of the Nera, and
passes close to the so-called Bridge of Augustus (on the left), which
spanned the river immediately below Narni in three huge arches^

86 Route 1 1.

and belonged to the Via Flanrinia (p. 117), leading to Bevagna
(p. 77). The arch next to the left hank, 60 ft. in height, still stands,
but of the two others only the piers remain.

The train continues to follow the valley of the Nera , with its
beautiful plantations of evergreen oaks. Beyond (71 M.) Nera Mon-
toro we pass through two tunnels, and then (near the influx of the
Nera) cross the Tiber, which in 1860-70 formed the boundary be-
tween the Kingdom of Italy and the Papal States. — Near —

77 M. Orte (*Rail. Restaurant) we reach the main line from Chiusi
to Rome (see p. 94).

11. From Florence to Rome via (Arezzo) Terontola
and Chiusi.

197'/2 M. Railway. This is the shortest route from Florence to Rome.
Express in by^/i hrs. (fares 40 fr. 35, 28 fr. 25, 18 fr. 35 c); ordinary train
in lli/2 hrs. (fares 36 fr. 70 c, 25 fr. 70, 16 fr. 50 c); no change of car-
riages. — The digression from Orte (p. 94) to the waterfalls of Terni (p. 84)
is recommended to all who have sufficient time.

From -Florence to Terontola, 76 M., see pp. 44-53. The main
line to Rome diverges to the right (S.) from the branch-line to Pe-
rugia, Assisi , and Foligno, and at first skirts the "W. bank of the
Trasimene Lake (comp. p. 53).

82'/2 M. Castiglione del Lago, lying to the left on a promontory
(997 ft.) extending into the lake, possesses an old palazzo of the
Duehi della Cornia, built by Galeazzo Alessi.

86^2 M. Panicale, a small place 4 M. to the S.E. of the station,
with unimportant frescoes in its churches by Perugino and his school.
■ — The line takes a W. direction and joins the line from Siena in the
valley of the Chiana (R. 6).

93Y2 M. Chiusi. — The Railway Station (good Restaurant) is about
l'/aM. from the town, on the hill to the right. 'Posto' (seat in a carriage)
to the town 1 fr., two 'posti' Ufa fr.

Hotels. Corona, outside the Porta Romana, R. IV2-21/2 fr., clean;
Etkcria, Porsenxa, Italia, near the station.' plain. • — Travellers are
cautioned against making purchases of Etruscan antiquities at Chiusi, as
'antiquities1 from Etruscan tombs are largely manufactured here.

Chiusi ( 1305 ft. ; 5974 inhab.), the ancient Clusium, one of the
twelve Etruscan federated towns, frequently mentioned in the wars
against Rome and as the headquarters of Porsenna, was fearfully
devastated by malaria in the middle ages, and it was only in later
times, after the Val di Chiana had been drained (see p. 50), that
the town recovered from these disasters. The walls are mediaeval;
a few relics of those of the Etruscan period are traceable near the
cathedral, outside the Porta delle Torri. A walk thence round the
town to the Porta Romana, also called Porta di San Pietro, affords
pleasing views of the S. portion of the Chiana Valley, Citta della
Pieve, the mountains of Cetona, to the N. the lakes of Chiusi and
Montepuloiano, and the latter town itself. Under the town extends

11. Route. 87

a labyrinth of subterranean passages (inaccessible), which probably
belonged to an elaborate system of drainage, as the ancient Etrus-
cans excelled in works of this kind, and were even in advance of
many modern nations.

The interesting Museo Etrusco (adm. 1/2 fr.), in a new building
(1901) in the Piazza del Duomo, contains a valuable collection of
objects found in the Etrus-
can tombs around Chiusi,
such as vases (including
some curious polychrome
urns), dishes, bronzes, mir-
rors, sarcophagi, and espe-
cially cinerary urns, chiefly
of terracotta, with a few of
alabaster and travertine. The
custodian also keeps the key
of the Tomba della Scimmia
(see below; fee 2 fr.).

The Cathedral of Santa
Mustiola (recently restored
and redecorated) is a bas-
ilica consisting almost en-
tirely of fragments of ancient
buildings, with eighteen col-
umns of unequal thickness.
In the left aisle is the tomb
of St. Mustiola. The sacristy
contains a mass -book il-
luminated with admirable
miniatures of the 15th cent.,
chiefly by artists of the Sie-
nese school. The walls of the arcades in the cathedral square bear
numerous Etruscan and Roman inscriptions.

The *Etb.ttscan Tombs, situated in isolated hills at some dis-
tance from the town, are the great attraction of Chiusi. They are
distinguished by numbers on the above map. The paths to the
tombs are very muddy in wet weather. If time is short only the
first two should be visited (2 hrs. there and back; carr. from the
station 5 fr.); viz. the Tomba del Granduca (No. 2), on the N.E.,
near the Siena railway (1 hr.). owned privately (fee Y2 fr-)' an|i
(20 min. to the S.W.) the Tomba della Scimmia (No. 1 ; key, see
above), the most important of all, with paintings representing glad-
iatorial combats. The dilapidated Tomba del Poggio Oaiella (No. 3),
which was formerly supposed, but without authority, to be the
Mausoleum of Porsenna mentioned by Pliny and Varro, is 3 M. to
the N.N.W. The Tomba dei Cappuccini (No. 4) lies to the N.E.
and the Tomba di Vigna Grande (No. 5) to the S.

88 Route 11. CITTA iTOMjft- Hj5¥5«;. From Florence

Near Santa Caterina, on the way to the station, are small cata-
combs of the early-Christian period, and near them a Roman tomb.

A diligence plies between the Chiusi rail, station and (4'/s M.) Cittit
della Pieve (see below) in 1 hr. ; fare IV2 fr. (carr. there and back 5 fr.).

About 5 31. to the S.W. of Chiusi (diligence in 2 hrs., l'/2 fr.) lies
the little town of Sarteano (1879 ft.), above which rises an ancient castle.
The Villa Bargagli contains a collection of sarcophagi, vases, small bronzes,
and other antiquities found in the neighbourhood, to which admission is
courteously granted. — About 23/4 <o the S.B. of Sarteano, and 7'/2 M. to
the S.W. of Chiusi (diligence in l'/2 hr., IY2 fr.) lies the small town of
Cetona, commanded by a medieeval castle {1260 ft.; key kept below, in
the town). The Palazzo Terrosi contains a small collection of antiquities
found in the neighbourhood, such as handsome polychrome and richly
gilded urns ; an elephant's tusk with archaic reliefs from the Odyssey, etc.
(visitors admitted on presenting their cards). — Picturesque grounds at
the back of the palace.

99 V2 M- Citt& della Pieve (820 ft.). The town (1666 ft. ; Alb.
del Falcone, Via Pietro Vanucci ; diligence and carr. from Chiusi,
see above), which lies 3 M. to the N.E. (carriages not always ob-
tainable) has 6694 inhab., and is the birthplace of Pietro Vanucci,
surnamed Perugino (comp. p. 61). It possesses several of his
pictures, but they are works of his later period, hastily painted and
chiefly done by his pupils, as the master apparently deemed his
native place not capable of appreciating works of a more elaborate
kind. — The Oratorio dei Disciplinati, or Santa Maria dei Bianchi
(fee y2 fr.), in the Via Pietro Vanucci or main street, contains an
Adoration of the Magi, one of the largest pictures by Perugino. Two
letters of the artist from Perugia (1504) are shown with regard to
the price of this fresco, reducing it from 200 to 75 ducats. An in-
scription on the opposite wall marks the site of the house where
Perugino was born. — In the Cathedral (interior modernised) is the
Baptism of Christ (first chapel to the left), and in the choir a Ma-
donna with SS. Peter, Paul, Gervasius, and Protasius, 1513. The
picture of St. Anthony with St. Paulus Eremita and St. Marcellus in
San Pietro, belonged originally to the church of Sant' Antonio. All
these pictures are by Perugino. — Outside the S. gate is the church
of Santa Maria dei Servi, containing remains of a Crucifixion by
Perugino, dating from 1517. — A road (affording line views) leads
towards the E. to Perugia (p. 59; ca 31 M.).

105 M. Ficulle; the village (1433 ft.), lies 3 M. to the S.E.
11272 M. Allerona. Near Orvieto the Chiana falls into the Paglia,
a turbulent tributary of the Tiber. The stratification of the rock
from Chiusi to this point dates from the tertiary period, and shows
clay, marl , and sandstone , while at Orvieto the volcanic district
begins, of which the central point is the lake of Bolsena (p. 93).

119 M. Stat. Orvieto (407 ft.; Rail. Restaurant), at the base
of the hill occupied by the town, to which a cable-tramway (Funi-
colare; 5 min. ; 30 c), 612 yds. in length, ascends at a gradient of
27 : 100, passing through a tunnel under the Fortezza. Hotel-omni-
buses C/2 fr-) wavt a* tne upper end of the cable-tramway.

to Borne. 11. Route. 89

Oivieto. — Hotels (comp. p. xvii). Grand Hotel delle Belle Aeti
(PI. a; C, 3), Corso Cavour, R. 3-5, B. l'/a, d^j- 3, D. 5 fr., both incl.
wine, good; Alb. Tokdi & Aquila Bianca (PI. b; B, 3), Via Garibaldi,
R. from 2, B. 1, dej. 3, D. 4 (both incl. wine); Italia (PI. c; C, 2), Via
del Popnlo 5, Cobnelio (PI. d; C, 3), Piazza Ippolito Scalzo 1, at both
E. lV2-2fr. ; Tbattobia del Duomo (PI. e; C, 3), Via Umberto Primo,
clean, B,. l1^ fr. — Cufi in the Piazza Vittorio Emanuele.

The Wine of Orvieto is celebrated. — Photographs sold by Armoni, near
the Cathedral. — About 4-5 hrs. are sufficient for a hasty visit to the town.

Orvieto (1033 ft. ; 8220 inhab.), a small town and episcopal res-
idence, on an isolated tufa rock (the perpendicular sides of which
are partly of artificial'creation) occupies what was probably the site
of Volsinii, one of the twelve capitals of the Etruscan League. Vol-
sinii, after various vicissitudes, was taken and destroyed in B.C. 280
by the Romans, who are said to have carried off 2000 statues. The
wealth of the ancient town has been proved by the discovery of
numerous vases, trinkets, and statues. A new town, the Urbibentum
of Procopius , arose on the site , and was called Urbs Vetus at a
very early period , whence is derived its modern name. In the
middle ages it was a great stronghold of the Guelphs, and often
afforded refuge to the popes.

From the E. entrance to the town, where the terminus of the
cable-tramway is situated, near the old castle mentioned at p. 92,
runs the Corso Cavour, the principal street of Orvieto. Two med-
iaeval towers rise in this street ; opposite the first (Torre del Moro)
is the Via Umberto Primo, leading straight to the Piazza Santa
Maria with the far-famed —

**Cath,edral (PI. 1; C, 3; closed 1-3), a magnificent example
of the Italian Gothic style, and one of the most interesting edifices
in Italy, founded in consequence of the 'Miracle of Bolsena' (comp.
p. 93). The building was begun about 1285, perhaps by Arnolfo
di Cambio, and the work progressed so rapidly that in 1309 Bishop
Guido di Farnese was able to read the first mass in the church. It
consists of a nave and aisles, with transept and rectangular choir.
It is 1141/2Yds. long and 36 yds. wide, and, like the cathedrals of
Florence and Siena, is constructed of alternate courses of black and
white stone (basalt and limestone). This cathedral, like those in
other towns, once constituted a great arena for the display of artistic
skill. The guardians of the building were unwearied in providing
for its ornamentation, and like the curators of modern museums who
are zealous to secure works by the best artists, they did all in their
power to obtain the services of the first masters of the day for the
embellishment of their church.

The *Facadb, with its three gables, 44 yds. wide and 160 ft.
high , is gorgeously enriched with sculptures and (freely restored)
mosaics, and is probably the largest and most gorgeous 'polychrome'
monument in existence. Though it was begun in 1310 under the
supervision and according to the plans of Lorenzo Maitani of Siena,
its upper part was not finished until the 16th century.

90 Route 11. From Florence

The excellent Bas-Reliefs on the lower parts of the pillars, which in
many respects are characteristic of the transitional style preceding the
Renaissance, represent scenes from the Old and New Testament: 1st pillar
to the left, from the Creation down to Tubal Cain; 2nd, Abraham, ge-
nealogy of the Virgin ; 3rd, History of Christ and Mary ; 4th, Last Judgment
with Paradise and Hell ; above are the bronze emblems of the Evangelists,
by Lor. Maitani. Above the principal portal, a Madonna under a canopy,
in marble, wrongly attributed to Andrea Pisano. On the margin of the
large square panel, in the centre of which is a rose-window, are marble
statues of prophets and (above) Apostles, by Raffaello da Montehipo (1560
et seq.).

Above the doors and in the three pointed gables are Mosaics on a
golden ground, of various periods (14- 19th cent..): Annunciation, Nup-
tials of the Virgin, Baptism of Christ, Coronation of the Virgin; the
last, the principal picture, is the topmost.

The "'Interior has been admirably restored. It is constructed, like that
of the Siena cathedral, of alternate layers of dark and light stone (black
basalt and greyish-yellow limestone from the vicinity). On each side four
columns and two pillars separate the nave, which is 131 ft. in height, from
the lower aisles. Above the round-arched arcades is a gallery adorned
with rich carving. The windows are pointed, the lower parts being filled
with translucent alabaster, the upper with stained glass. The visible
frame-work of the roof was formerly richly ornamented.

In the Left Aisle, a Madonna, a fresco by Gentile da Fabriano (1436;
much damaged). Near the main entrance stands a fine marble font, the
lower part by Piero and Jacopo di Piero (1402-3), the upper by Sano di
Matteo (1407). — In the Nave, to the right, a fine marble holy-water basin
by Ant. Federighi (1451-56; p. 26). — In the Choir, frescoes from the life
of the Virgin by Vgolino di Prele d'llario and Pietro di Puccio; in the corner
on the right, Annunciation and Visitation, by Ant. da Viterbo, a pupil of
Pinturicchio. On each side is an altar by Sammicheli of Verona (1521 &
152S), with reliefs in marble by Mosca: on the left, Visitation of Mary; to
the right. Adoration of the Magi.

Right Transept. The "Cappella Nuova (best light in the morning), con-
taining a miraculous image of the Virgin (Madonna di San Brizio), occupies
an important page in the annals of Italian art. Don Francesco di Barone,
the superintendent of the cathedral-mosaics, having heard that the 'famous
painter and monk' Fra Angelica da Fiesole was not engaged during the summer
in Rome (where he had been working at the Vatican), invited him to
Orvieto, and secured his services for the .decoration of the chapel. In 1447
Fra Angelico accordingly worked here, but for three months only, during
which time he executed two panels of the vaulting above the altar
representing Christ in the glory as Judge, and prophets to the right. No-
thing more was done till 1499-1502, when the work was continued and com-
pleted by Luca Signorelli, whose mural paintings are the chief attraction
here. The first painting on the left wall shows the overthrow of Anti-
christ, who is represented in the foreground, preaching ; tradition has it
that the two devout figures, in the corner to the left, are portraits of
Signorelli and Fra Angelico. The spaces on the entrance-wall have been
skilfully covered with representations of the symbols of the Sun and Moon
and the Death of the Two Witnesses (to the right , as we look towards
the entrance), and the Destruction of the World by fire (to the left). —
Next in order are the Resurrection of the Dead and the Punishment of
the Condemned; then, on the wall of the altar, (right) the Condemned
descending into Hell, and (left) the Blessed ascending into Heaven, and
lastly, adjoining the picture of Antichrist, Paradise. — Below these are
medallions of poets of the future life, surrounded with scenes from their
works. On the ceiling: Apostles, angels with the instruments of the Pas-
sion, patriarchs and church-fathers, virgins and martyrs. — These paint-
ings are the most important work produced during the 15th century. In
the mastery of form, in the boldness of motion and of foreshortening, and
in the acquaintance with the nude, Signorelli is by no means unworthy
of comparison with Michael Angolo, who, according to Vasari, borrowed

to Rome. totibiu. 11. Route. 91

several motives from these works for his Last Judgment in the Sixtinc
Chapel. — Signorelli also painted the fine Entombment in the niche behind
the Pieta of Scalza (1572).

Opposite, in the£e/( Transept, is the Cappella del Corporale, where,
behind the principal altar , is a canopy of marble mosaic, containing a
silver reliquary, in which is preserved the blood-stained chalice-cloth
(corporale) connected with the Miracle of Bolsena (p. 93). The reliquary,
executed by Ugolino di Maestro Vieri of Siena in 1337, and resembling in form
the facade of the cathedral, is about 41/2 ft. broad, 2 ft. high, and 440 lbs. in
weight. The Passion and the 'Miracle' are represented on it in transparent
enamel; it is exhibited to the public on Corpus Christi and on Easter
Day, but at other times it is shown only by special permission. Modernised
frescoes of the 'Miracle Of Bolsena' by Ugolino di Prete Ilario (1357-64).
Over the altar on the left, a Madonna by Lippo Memmi.

Opposite the cathedral is the Opera del Duomo (PI. 2; C, 3).
Adjoining the cathedral on the right, behind, are the Palazzo Ves-
covile (1264) and, more in front, the —

Palazzo dei Papi or Palazzo Soliano (PL C, D, 3), founded by
Pope Boniface VIII. in 1296, and recently restored. The large hall
on the first floor contains the Museo Civico, the mediaeval works of
art in which belong to the Opera del Duomo. Director, /. C. Franci.
Tickets (1 fr.) are obtained at Armoni's photograph- shop (p. 89).
A catalogue is being prepared.

The top row of pictures consists of twelve paintings (taken from the
Duomo) by Muziano, the brothers Zucchero , and other painters of the
16- 17th cent. ; the drawings between are by artists of the Bolognese school,
brought from the Palazzo Gualteria. Among them : Luca Signorelli, Portraits
of the artist and the chamberlain Nic. FrancescM (fresco-sketch executed
before 1500), Mary Magdalen fl504); Ant. da Vtterbo, Madonna; Simone
Martini, Madonna and saints (1320), Madonna and the Bishop of Savona.
The statues of Apostles, by Mosca, Scalza, Tott, Giovanni da Bologna, etc.,
were formerly in the cathedral. — In the middle: an Annunciation, two
statues by Mocchi, and two wooden statues by Friedrich von Freiburg (14th
cent.); fine statue of the Madonna by Nino Pisano (the paint still adheres
in places); a precious reliquary by Ugolino di Maestro Vieri and Viva di
Siena ; antependia. — The Etruscan Collection contains weapons, bron-
zes, pottery, etc., from the Etruscan Necropolis (p. 92). Plan of the exca-
vations. Reconstruction of an early-Etruscan grave. Architectural orna-
ments in terracotta, from a Roman temple, the remains of which were
discovered in a new street near the Giardino Pubblico. — On the farther
wall: Ces. Fracassini, Raising of Totila's siege of Orvieto (1866). Below
are two fine designs on parchment for the facade of the cathedral (one,
probably the older, showing only a single gable) and a sketch (also on
parchment) for a pulpit, which was never completed.

In the street behind the Pal. dei Papi is the Palazzo Marsciano
('Ufflzi Finanziari'), by Ant. da Sang alio the Younger.

The Corso Cavour leads to the W. to the Piazza Vittorio Emanuele
with the Palazzo del Comune (PI. 4; B, 3 ), dating from the 12th'cent.
and restored in the 14th, the still unfinished facade of which was re-
newed by Scalza in 1585. The first floor contains a fresco by Ant. da
Viterbo (St. Sebastian). — Adjacent is the church of San? Andrea
(PI. 3 ; B, 3), with a twelve-sided tower of the 1 1th cent, and a restored
facade. In the interior are paintings of the 14th and 15th cent.,
and a late-Gothic pulpit, the ornamentation on the back of which
dates from the 9th century. — Farther to the N.W., by the Via

92 Route 11. From Florence

Malabranca, is San Oiovenale (PI. 5; A, B, 3), an 11th cent, church,
with early-Gothic choir, altar of 1170, and fragments of old fres-
coes by Guilelmus de Grua (1312jand 1399; entrance in the Via
Volsinii, to the left).

We now return and proceed from the Corso Cavour to the left to
the Piazza del Popolo, with the Pal. del Popolo or del Capitano, the
rear of which is interesting (12th cent.). — Passing through the arch-
way and then taking the Via degli Orti to the right and the Vicolo
degli Orti to the left, we reach San Domenico (PI. 6 ; C, 2). In the
S. transept of this church is the monument of Cardinal de Braye
(d. 1282), by Arnolfo di Cambio ; the crypt was built by Sammi-
cheli (1518-23).

The Fortress, constructed by Cardinal Albornoz in 1364, and situ-
ated at the N.E. entrance of the town (p. 88), has been converted
into a garden (fine views) with an amphitheatre for public perform-
ances. — The custodian keeps the key of the famous adjacent well,
II Pozzo di San Patrizio, which was begun by Ant. da Sangallo the
Younger in 1527, and completed by Mosca in 1540. It is partly
hewn in the tufa rock, partly built of masonry, and is 200 ft. deep
and 42 ft. wide. The bottom touches the tertiary marl below the
tufa rock. Two separate spiral staircases wind round the shaft; the
water-carrying asses descended by one and ascended by the other
(fee 60 c; 248 steps).

The winding road between the town and the (21/2 M.) station
passes about 200 paces to the right of an extensive Exbtjscan
Necropolis, discovered by Riccardo Mancini in 1874 (comp. PI. A,
B, 2). The tombs date chiefly from the 5th cent. B.C., and some of
them were found intact. Their facades, as elsewhere, are constructed
of three large stones, two of which, placed nearly upright, are roofed
by the third. Adjoining the entrance is inscribed the name of the
deceased in the ancient Etruscan character. The inner chamber is
square in form, and covered with the primitive kind of vaulting in
which the stones (tufa) are laid horizontally, each overlapping the
one below it. The tombs contained many painted vases, of Greek,
and particularly of Corinthian and Attic workmanship, and articles
of native manufacture, the most important being black terracotta
vases with stamped patterns (now in the Museo Civico, p. 91).

Signor Mancini (Corso Cavour, No. 85) and Count Eug. Faina (opposite
the cathedral) also possess collections of Etruscan antiquities, to which
visitors are politely admitted. An iron gate, with an inscription (near the
Fontana delle Conce, PI. A, 2). leads to the Tombe Mancini (belonging to
Sig. ManciDi), one of which retains its original contents.

About I1/2 M. beyond the Porta Rotnana (PI. B, 3) is VAbbaMa, the
ruined abbey-church of San Severo, dating from the 11th century.

From Orvieto to Bolsena , 12 M. (one - horse carr. in about
3 hrs., 10-12 fr.; bargain beforehand). — Quitting Orvieto by the
Porta Romana (PI. B, 3), the road at first descends into the valley
but soon re-ascends with many windings (fine retrospect of the town)

to Rome. b^bbbwa. 11. Route. 93

through a well- cultivated district and up the tame declivity of an
extinct volcano (see below). Finally we descend abruptly by the
margin of the so-called crater to —

Bolsena (1140 ft. ; Stella, in the main street), a little town with
3288 inhab., picturesquely situated on the N.E. bank of the lake,
a little below the site of Volilnii Novi, which arose after the de-
struction of the older Volsinii (p. 89). The present town contains
inscriptions, columns, and sculptures of this Roman municipium.
The Museo Comunale, in the Piazza, contains a Roman sarcophagus
with the triumph of Bacchus. The ruins are reached in a few min-
utes by an antique causeway of basalt. Beautiful view of the lake.

The church of Santa Cristina was founded in the 11th cent., and
embellished with its fine Renaissance facade by Cardinal Giov.
Medici, afterwards Pope Leo X., about 1500. Above the doors are
two terracotta reliefs by Andrea delta Robbia.

Interior. To the right of the choir is a bust of Santa Lucia, of the
school of the Robbia, beneath a wooden crucifix of the 14th century. A
portal in the left aisle dates from the 11th cent.; the relief represents
the Five Wise Virgins and the Adoration of the Magi. Beneath the
church, in the space before the entrance to the Catacombs, stands a terra-
cotta altar, of the school of the Robbia; to the right, above the stone
with which St. Christina, a maiden of Bolsena, was drowned in 278, is
the Altar del Miracolo (see below), beneath a canopy of the 8th century.
Adjacent is the Tomb of the Saint, below a modern canopy. Several good
frescoes have recently been discovered here under the whitewash. — The
cure also keeps the key of a small Museum, with inscriptions and glass
vessels from the catacombs, Longobard antiquities, and a terracotta statue
of St. Christina, dating fiom the beginning of the 16th century.

The 'Miracle of Bolsena', the subject of a celebrated fresco by Raphael in
the Vatican (p. 340), occurred in 1263. A Bohemian priest, who was somewhat
sceptical as to the doctrine of transubstantiation , was convinced of its
truth by the miraculous appearance of drops of blood on the host which he
had just consecrated. In commemoration of this Pope Urban IV. in-
stituted the festival of Corpus Domini in 1264 and ordered the erection
of the superb cathedral of Orvieto (p. 89).

The remains of an ancient Amphitheatre are preserved about
IV2 M. from the town.

The Lake of Bolsena, the ancient Lacus Vulsiniensis, 1000 ft. above the
sea-level, a circular sheet of water, 71 sq. M. in area, 27 M. in circum-
ference, and 480 ft. deep, is the central point of a volcanic district not
inferior in size to that of Mt. Etna. More than 800 square miles of country,
stretching from Orvieto almost to the sea, are covered with its eruptive
tufa. Numerous streams of lava flowed down to the W. and N.W., but
it is doubtful whether a true cone was ever formed. The lake-bed, in-
stead of being a crater, is more probably the result of the subsidence of
the earth's crust into the subterranean hollow, whence the volcanic matter
was ejeoed. Lateral craters are found near Valentano, in the W., near
Montetiascone and the island of Martana (see below), in the S.E., and at
other points. The lake abounds in fish (its eels are mentioned by Dante,
Purg. xxiv. 24) ; but the banks, especially on the W. side, are bleak and
deserted, owing to the malaria, which is not easily dispersed by the wind
from the confined basin of the lake. It finds an outlet to the sea in the
Marta (p. 98). The monotony of the surface is relieved by the two pictur-
esque islands of Bisentina (1184 ft.) and Martana (1236 ft.). On the latter,
with consists of a horseshoe-shaped crater, Amalasuntha, Queen of the
Goths, the only daughter of Theodoric the Great, was imprisoned in 534,

94 Route 1 1 . From Florence

and afterwards strangled whilst bathing, by order of her cousin Theodatus,
whom she had elevated to the rank of co-regent. The church in the
island of Bisentina was erected by the Farnese family and embellished by
the Carracci. It contains the relies of St. Christina.

From Bolsena the road leads towards the S-, at first on the bank of
the lake, then partly by a steep ascent, to (7>/2 M.) Montefascone (p. 97;
iiligence in 2'/2 hrs.; fare 2 fr.).

The Railway from Orvieto to Orte and Rome reaches the
wooded valley of the Tiber, the broad, stony bed of which bears
traces of numerous inundations, and forms at this point the demar-
cation between the volcanic districts of Etruria and the Apennines.
Two tunnels. To the left lies Baschi. 126 M. Castiglione in Teverinu.
The river is crossed. 131 M. Alviano.

137 M. Attigliano (Buffet), the junction for Viterbo, p. 97.

140V2 M. Bassano in Teverina, on a hill (1000 ft.) to the right
(IV2M.).

The small marshy Lake of Bassano, formerly Lacus Vadimonis, is famous
in ancient history as the scene of the great victories of the Romans over
the Etruscans, B.C. 309 and 283. Pliny the Younger (Ep. viii. 20) has
described the lake with its 'floating islands'. — About 3 M. farther to the
N'.W. is Bomarzo (863 ft.), the ancient Potimartiwm, picturesquely situated
on a precipitous rock, where numerous tombs of the Etruscan and Roman
period have been found.

The train passes through two tunnels, and reaches —

144 M. Orte (*Bail. Restaurant), where the railway from Foligno
(Perugia and Ancona; R. 10) unites with the main line. The high-
lying town (440 ft.), about 2 M. to the N., is the ancient Horta, but
presents no object of interest beyond its situation. Pop. 4397.

The train descends the valley of the Tiber on the right bank.
The lofty and indented ridge of Mount Soracte (p. 96) becomes
visible, at first to the left, then to the right. To the left, on the
other side of the river, lie San Vito and Otricoli, the latter a small
place 6 M. distant from Orte, near the site of the ancient Ocriculum,
where numerous antiquities (p. 352, etc.) have been excavated. —
149 M. Gallese. Farther on, high above the left bank, is the small
town of Magliano Sabino (see below).

152y2 M. Civith Castellana Station, situated near Borghetto, with
a ruined castle on the height to the right. To the left is the Ponte
Felice (see below).

The following is an attractive day's excursion. From the station (carr.
to Calvi in 3 hrs.; diligence to Magliano Sabino in 1 hr., fare 1 fr.), we
proceed to the N.E. by the Otricoli (see above) and Narni (p. 85) road.
This crosses the Tiber by the handsome Ponte Felice, formerly of great
importance for the traffic between Eome and the N.E. provinces; it was
built by Augustus for the Via Flaminia (p. 117) and reconstructed by
Sixtus V. in 1589. After 2 HI. a road, diverging to the right, leads to (3 M.)
Magliano Satino (728 ft.) and (10 3i.) Calti (1315 ft.). From Calvi we ascend
(with guide) to (2 hrs.) the top of Monte San Pancrazio (3370 ft. ; chapel),
a fine point of view. Thence we descend via the convent of'zo Speco
(rfmts.) and Stieli to (4'/2 hrs.) Narni (p. 85). The finest point of the descent
is the ravine of Vasciano. We reach the above-mentioned road about Vk M.
from Narni; it enters the town below the castle.

to Rome. uitha 'uaijiji.ivijA1>a. 11. Route. 95

The station of Civita Oastellana lies about 5 M. from the town
(carriages at the station; omnibus in l^hr., fare 1 fr.). The road
ascends over tufa rocks and crosses a lava-stream which once flowed
from the Lago di Vico (p. 101). A bridge, erected by Clement XL
in 1707 (restored in 1862), carries the road into the town across a
ravine, 130 ft. in depth.

Civiti Castellana (475 ft. ; Alb. Natalucci, good cuisine), with
5132 inhab., is picturesquely situated at the W. end of an isolated
tufa plateau, bounded on either side by affluents of the Treia. On
this plateau once stood Falerii, the town of the Falisci, an important
centre of S. Etruria, which was captured by Camillus in B.C. 396
.and destroyed by the Romans in B.C. 241. The inhabitants were
removed to the Roman Falerium Novum (see below), a much less
strong fortification, but they returned in the 8th or 9th century
to the site of the original town. The Cathedral of Santa Maria
possesses a handsome portico erected (according to the inscription)
in 1210, by Laurentius Romanus, his son Jacobus, and his grand-
son Cosmas; the bust in mosaic of Christ over the door to the right
is by Jacobus; the interior was modernised in 1736-40. A flight
of steps descends on the left of the high-altar to a crypt supported
by columns (partly ancient), and containing two Renaissance altars
presented by Roderigo Borgia; the choir-screens, with elaborate
cosmatesque ornamentation, are now built into the wall in an ad-
joining chamber. — The Citadel, erected by Alexander VI. in 1494-
1500 from a design by Ant. da Sangallo the Elder, was enlarged by
Julius II. and Leo X; in the court is a marble relief of Christ,
which, according to tradition, is a likeness of Caisar Borgia. In the
deep ravines by which the town is enclosed and at other points in
the vicinity a few fragments of ancient walls and numerous Etruscan
tombs hewn in the rock are preserved. — At the highest point of
the old town district, in the Contrada Lo Scasato, to the E., are the
remains of an Etruscan Temple discovered in 1888; while others
were unearthed in the Contrada Celle, in the valley to the N.E.,
and (1901) in the valley of the Fosso Maggiore, to the N.W. ; the
last-mentioned perhaps belonged to a Temple of Mercury.

From Civita Castellana to the Runs of Falerii ('Faleri'), 2'/2 31.
to the N.W. From the under-mentioned road to Nepi a carriage-road
diverges after '/i M. to the left, and crosses first the valley of the Fosso
Maggiore, then, about '/s M. before reaching Falerii, that of the Eio del
Purgatorio, with its numerous rock-tombs. The town of Falerium Novum
or Colonia Junonia, founded by the Romans about 240 B.C. (see above),
was nearly in the form of a triangle; the well-preserved walls, l'/i M. in
circumference, are protected by square towers and pierced by gates, of
which the Porta di Giove, on the W., and the Porta del Bove, on the S.E.,
are worthy of a visit. Near the latter are the theatre (of Roman con-
struction), the piscina, and what is regarded as the forum, at the back of
the theatre. At the Porta di Giove, within the walls, is the interesting ruin
of the abbey-church of Santa Maria, of the 12th century. In the nave,
antique columns.

Prom Civita Castellana to Soeacte: there and back about 7 hrs. A
good road (one-horse carriage, 6-Sfr., in about 2 hrs.; diligence in 3 hrs.

96 Route 11.

1 fr. ; on foot 31/2 hrs.) leads to Sanf Oreste (1358 ft. ; modest trattorie and
night-quarters near the gate), a village about 1 hr. from the summit.

Soracte , mentioned by Horace (Carm. i. 9 : Vides ut alta stet nive
candidum Soracte) and Virgil (jEn. xi. 785: Summe deum sancti custos So-
ractis Apollo), is a limestone ridge, a fragment of a former chain of the
Apennines (continued towards the N. by Mte. Cetona, p. 44) which was
overwhelmed in the volcanic upheaval of this region. It descends pre-
cipitously on both sides , extending 3>/2 M. from N.W. to S. E. , and
culminating in several peaks. On the slope which gradually descends to-
wards the S. E. is situated Sanf Oresle. Leaving the village to the right,
the stony path ascends gradually to the left, and in 3/4 hr. reaches the
monastery of San Silvestro (2086 ft. ; bread and wine may be had), founded
in 746 by Carloman, son of Charles Martel and brother of Pepin. The
central and highest summit (2265 ft.), with the church of San Silvestro and
a small disused monastery, may he reached in 5-6 minutes more. In an-
cient times a temple of Apollo occupied this site. The 'View, uninter-
rupted in every direction, embraces several snow-clad peaks of the Central
Apennines, the Sabine, Volscian, and Alban Mts., the sea (to the W.), the
Lago di Bracciano , and the Ciminian Forest (to the N.). — A footpath
descends from Sanf Oreste to (3 hrs.) Stimigliano (see below), about IV2M.
short of which we are ferried across the Tiber (10 c). Stimigliano may
also be reached by an open mule-drawn car (carrella) on rails, which
occasionally runs from the foot of a disused cable-tramway connected with
on old limestone-quarry about li/j M. from Sanf Oreste. This may he
chartered at any time for 5 fr. ; enquiries should he made at Sanf Oreste
or from the station-master at Stimigliano.

The Civita Castellana road next leads to the S.W. to (7>/2 M.) Nepi
(diligence in l'/j hr., fare 1 fr.), finally crossing the Mo Falisco by means
of a handsi me viaduct. A more direct footpath (5V2M.) crosses the Fosso
dell' Isola to the S. and then follows the heights. About 3'/2 M. from
Civita Castellana this latter route passes the village of Castel Sanf Elia.
The ancient church of Sanf Elia, built about 1000 on the site of a temple
of Diana and restored by Pius IX., contains rude frescoes of the 11th cent,
(keys kept by the sindaco and by the Frati del Santuario, above the church).
The footpath joins the road at the entrance to the town.

Nepi ( Vitaliano Brunettis and Crivellari's Inns), with 2973 inhab., the
Etruscan Nepete or Nepet, afterwards Nepe, is now an episcopal seat and
surrounded by mediaeval walls and towers. The elegant Renaissance
Palazzo Municipale, in the market-place, contains a few Roman sculptures
and inscriptions. The Cattedrale dates from the 11th cent., but its crypt
is older. The picturesque ruined Cartello, to the E. of the town, occupies
the site of an ancient castle rebuilt by Ant. da Sangallo the Eider in 1499
for Pope Alexander VI., and restored by Paul III. Lucretia Borgia resided
here in 1500 after the death of her first husband. Below the castle, near
the Porta Romana, are some squared blocks of tufa belonging to Etruscan
Walls. — - About 6 M. farther to the W. lies Sutri (p. 102).

As the train proceeds, Civita Castellana (p. 95) becomes visible
for a short time to the right. The train crosses to the left bank of
the Tiber. — 161 M. Stimigliano (Locanda and Osteria della Posta,
at the station) and (165 M.) Poggio Mirteto are both situated in the
mountainous district of the Sabina , where olive-trees abound.
From Stimigliano to the top of Soracte, see above. — 172'/2 M.
Fara Sabina.

A carriage-road ascends to the B.E. through the valley of the Fosso
Corese to (10 M.) Fara in Sabina (1588 ft.). After 3 M. we see to the right,
beyond the stream, a hill (Arci; 495 ft. J, with the ruins of the ancient
Sabine town of Cures, where Kuma Pompilius was born. Fiom Fara in
Sabma a footpath leads to the N W. through wood to (1 M.) Far/a, a
former Benedictine monastery founded in 681, in the pretty valley of the
Far fa, the ancient Farfarus or Fabarit.

MGN~»F»ASeTJTNE. 1-2. Route. 97

The line follows the left bank of the Tiber to (180 M.) Monte-
rotondo. The village (Trattoria Vitt. Emanuele, in the Piazza),
with 4552 inhab., to the leftj 2 M. higher, has an old castle of the
Orsini, belonging later to the Piombino family, and now municipal
property. It was stormed by Garibaldi on 26th Oct., 1867. About 1 M.
to the S.E. is Mentana (p. 390), where he was defeated on 3rd Nov.
by the Papal and French troops.

From Monterotondo to Rome, a journey of 3/4 hr., the line
follows the direction of the ancient Via Salaria. Beyond Castel
Oiubileo (p. 388) we catch our first glimpse of the dome of St. Peter's
at Kome, which vanishes again as we approach the Anio (p. 388).
To the left are the Sabine and Alban mountains. — 187 M. Sette
Bagni (p. 388). — 194^2 M. Portonaccio. The train describes a
wide circuit round the city , and just beyond the Porta Maggiore
passes the so-called temple of Minerva Medica (p. 185; left).

197V2 M. Rome, see p. 131.

12. From Attigliano to Viterbo and Rome.

This line is of little importance except for visitors to Viterbo. There
are no express trains and no through trains (comp. p. 98). — From Atti-
gliano to Viteebo, 25 M., railway (Rete Adriatica) in i1/4-l3/'i ^r- (fares 4 fr.
65, 3 fr. 25, 2 fr. 10 c). — Fkom Viteebo to Rome, 54 M., railway (Rete
Mediterranea) in 2'/j-4V4 hrs. (fares 10 fr. 10, 7 fr. 10, 4 fr. 55 c).

Attigliano, see p. 94. — The train crosses the Tiber and passes
(3J/2 M.) Sipicciano and (10^2 M.) Grotte Santo Stefano.

I6Y2 M. Montefiascone (1325 ft.). The station, at which omni-
buses and carriages meet the trains, lies on the Viterbo road, nearly
2 M. from the town (2076 ft.). About 100 paces before we reach
the town-gate, on the road to Bagnorea (see p. 98), we pass San Fla-
viano, a curious church of 1030, restored by Urban IV. in 1262 in
the Gothic style (but with round, arches). The interesting fajade is
turned towards the valley. Frescoes of the 14th cent, adorn the interior.
The lower church, the quaint capitals in which should be noticed,
contains a tomb in front of the high-altar, with the inscription —
est. est. est. FR(opter) xm(ium) — est hic
lo(annes) de vg Do(minus) — mevs mortvs est.

The inscription is said to have been composed hy a valet who preceded
his master when travelling in order to test the winei at the various stopping
places. On the doors of the hostelries where the heat wine was to be
had he inscribed the word 'Est', and when he reached the inn at Monte-
fiascone ('bottle mountain') he wrote the 'Est' three times on the door,
with the result that hi" master never got any farther. That the inscription
refers to a member of the Fvgger family, as is usually asserted, is unlikely.
The best muscatel of the district is still known as Est Est (i/2fr.per'fiaschetto').

The little town (Aquila Nera, at the gate, plain ; Italia, Piazza
Vittorio Emanuele), with 3423 inhab., situated on a lateral crater
of the lake of Bolsena (p. 93), probably occupies the site of the
Fanum Voltumnae, the most sacred shrine of the Etruscans. The
uncompleted Cathedral of Santa Margherita, with an octagonal dome,

Baedbkxu. Central Italy. 14th Edition. 7

98 Route 12.

was one of the earliest works of Sammicheli (1519). The upper part
of the town, crowned by the imposing ruins of a castle restored by
Leo X., commands a magnificent view.

A road (diligence i1^ fr.) and a footpath lead to the W. from Monte-
fiascone to (4 M.) Mart't (Osteria del Comune, with good 'chowder'), a de-
cayed little town on tne S. bank of the lake, with an old octagonal tower
of the Farnese, at the point where the Maria issues from it On a pro-
montory in the lake, l:/4 M. farther on, lies Capodimonte, and 3 M. farther
to the N.W., at the foot of Monte Bisenzo (1342 ft.), are the luins of the
ancient Vitentmn, where a number of tombs have recently been brought
to light. The return from Marta may be made by boat (3fr.; bargaining
necessary), with a visit to Martana (p. 93). — Toscanella (p. 101) lies about
9 M. to the S. of Marta.

To (7V2 51.) Bolsena, see p. 93. — The direct road to Orvieto, which
diverges at San Flaviano (p. 97), does not touch Bolsena, but remains
on tlie height to the E. A branch to the right leads to (3 M.) Bagnorea
(1590 ft ; the ancient Balneum Regis), picturesquely situated on a hill sur-
rounded by ravines, and interesting to geologists.

The railway to Viterbo runs to the S. through a plain between
the volcanic districts defined by the lakes of Bolsena and Vico. To
the right, beyond a tunnel, lies part of the ancient Via Cassia (p. 384).

25 M. Viterbo. — Stations. Stazione Porta Fiorentina (PI. B, 1 ; small
buffet), to the N. of the town , outside the Porta Fiorentina. Stazione
Porta Romana (PI. C, 5), for the line to Rome, to the S.E., outside the
Porta Rornana. There is no passenger-service between the stations. —
Cab to the town, 1-2 pers. 70 c, each additional pers. 35 c, trunk 20 c. ;
to Montefiascone (p. 9i) 8-10 fr. (2-2'/2 hrs.).

Hotels. Geandoki (PI. a; B, 1), at the Porta Fiorentina, rooms only,
R. from l'/sfr. ; Angelo (PI. b ; B, 3), Piazza Vittorio Emanuele, B. l'^fr., with
trattoria, good ; Schlnakdi (PI. c ; B, 3). near the Piazza, with cafe and trattoria.

Post Office, Piazza del Plebiscito (PI. B, 3). — Photogbaphs at Polozzi's,
Vicolo della Ficunaccia (PI. C, 2).

Viterbo (1073 ft.}, an episcopal residence with 17,344 inhab.,
surrounded by ancient Longobard walls and towers, is situated in a
plain on the N.W. side of the Ciminian Forest, on or near the site
of the ancient Sorrina. It was the central point of the extensive
grant called the 'patrimony of St. Peter', made by the Countess
Matilda of Tuscia (d. 1115) to the papal see, and is frequently
mentioned as a residence of the popes and as the scene of the papal
elections in the 13th century. Viterbo, called by old Italian authors
the 'city of handsome fountains and beautiful women', still presents
an abundance of fine architectural details and picturesque points.

The centre of the town is occupied by the Piazza del Plebiscito
(PL B, 3), in which rises the *Palazzo Municipals, begun in 1264,
with a beautiful portico of the 15th cent, and frescoed rooms of the
end of the 17th century. The court (affording a fine view to the W.)
contains an elegant fountain and six large Etruscan sarcophagus-lids
with recumbent figures. To the right is the entrance to the Museo
Municipaie (key on the 1st floor; fee l/%-i fr.).

Room I. Lids of Etruscan sarcophagi with recumbent figures some
bearing inscriptions; Etruscan, Roman, and mediaeval antiquities; also (at
the window) the 'Decree of Desiderins, King of the Longobards'' and the
Tabula Cibellaria, forgeries of the notorious Dominican Junius of Viterbo
(d. at Rome 1502). On the wall to the right, Madonna by Lorenzo da Viterbo.

a-Edera.-^

TTaepver * Drtes, Leipzig;.

to Rome. 12. Route. 99

— Room II. *Pieta from the church of San Francesco (p. 100), painted by
Sebaitiano del Piombo under the influence of Michael Angelo ; an ancient
hut ruined replica of the Scourging of Christ (p. 377), by the same; a
Baptism of Christ (school- piece); and an Adoration of the Holy Child, by
Ant. da Viterbo. By the exit, Portrait-bust in terracotta, probably by Andrea
delta Robbia (1502). — Room III. Aquamanile of the 12th cent ; mediaeval
sculptures, including a sphinx from Santa Maria in Grado (1286).

Passing through the archway to the right of the Palazzo Muni-
cipal, we reach in a few yards the elegant portal of the church of
Santa Maria della Salute (close of the 13th cent. ; PL B, 3). — In the
N.E. angle of the Piazza del Plebiscito, at the beginning of the Via
dell' Indipendenza, is the small church of SanV Angelo (PI. B, 3), on
the facade of which is a Roman sarcophagus, with the Hunt of Me-
leager; above is a 16th cent, inscription in honour of the beautiful
Galiana, on whose account, as on that of Helen of old, a war is said
to have raged in 1135 between noble families of Rome and Viterbo,
in which the latter were victorious. Opposite, at the other corner
of the Via dell' Indipendenza, are a lion and a palm - tree, the
cognizance of Viterbo, corresponding to a similar group at the other
end of the Piazza, at the corner of the Via San Lorenzo.

The Via San Lorenzo leads to the cathedral ; No. 7 in the first
side-street to the right is the interesting Palazzo Chigi (15th cent.).
Halfway to the cathedral we cross the little Piazza della Morte
(PI. B, 4), with a mediaeval fountain, whence a large bridge leads to
the Piazza San Loebnzo (PI. A, 4), in front of the cathedral. This
is the spot where in July, 1 J 55, Pope Hadrian IV. (Nicholas Break -
speare, an Englishman) compelled the Emp. Frederick I., as his
vassal, to hold his stirrup. To the left of the cathedral is a palace of
the 13th century. To the right, approached by a flight of steps, is
the Palazzo Vescovile (1266 ; at present under restoration), in which,
by order of Charles of Anjou, the Conclave elected Gregory X. pope
in 1271, John XXI. in 1276, and Martin IV. in 1281.

The Cathedbal op San Lobenzo is a handsome Romanesque
basilica of the 12th cent. (?), with a Gothic campanile, restored in
the 16th century.

Intekiok. The fantastic capitals of the columns should be noticed.
The 2nd chapel on the right contains the tomb of Princess Laetit;a Wyse-
Bonaparte (1804-71). At the end of the right aisle is the modern tomb of
Pope John XXI. ; the ancient tomb of 1277 is opposite, in the left aisle,
behind the door. In the choir-chapel to the left is a fresco, Christ with
four saints (1472), by Oirol. Scacco, of Verona. — It was not at the high-
altar of this church, but probably at that of San Silvestro (now the Chiesa
del Gesit, PI. B, 4), that in 1271, Guy de Montfort, son of Simon de Monk
fort, Earl of Leicester, assassinated Henry, nephew of Henry III. and son
of Richard, Earl of Cornwall, King of the Germans, in order thereby to
avenge the death of his father, who had fallen at the battle of Evesham
in 1265 when fighting against Henry III. Dante mentions this deed and
places the assassin in the seventh region of hell (Inf. xn. 120).

We return to the Piazza della Morte and enter (to the right) the
Via Principe Umberto (PI. B, C, 4), which skirts the N. side of a
quarter containing many mediaeval houses (especially in the Piazza
San Pellegrino, at the E. end of the Vicolo San Pellegrino). From

•j *

100 Route 12. vii'£S.B8. From Attigliano

the Via Principe Umberto the Via Annio leads to the left to the
Piazza Fontana Grande (PI. C, 4), in which rises the largest foun-
tain in the town, in the Gothic style, completed in 1279, and
restored in 1424. This square is connected with the Piazza del
Plebiscite (p. 98) by the Via Cavour, with the Porta Romana (PLC, 4)
by the Via Garibaldi, and with the Porta della Verita to the N.E. by
side -streets. At the Porta Romana is the church of San Sisto,
founded in the 11th cent. ; its apse is built into the town- wall.

Outside the Porta della Verita (PI. C, 3) lies the former church
of Santa Maria della Verita , now used as a public hall (key in the
Scuola Tecnica; fine monastery-court). The Cappella Mazzatosta,
to the right, is adorned with *Frescoes by Lorenzo da Viterbo (com-
pleted in 1469) , representing the Marriage of the Virgin, the An-
nunciation, the Nativity, the Ascension, saints, and prophets, with
numerous portraits. The majolica floor -tiles date from the 15th
century. — In the Strada di Circonvallazione, 200 paces to the N.
of the Porta della Verita, to the left, beside the town-wall, are some
scanty remains of a palace built by Frederick II.

Re-entering the Porta della Verita, we follow the Vicolo della
Porta to the right to the little Romanesque church of San Giovanni in
Zoccoli (11th cent.; PI. C, 3; restored in 1881). Thence the Via
Mazzini and the Vicolo della Ficunaccia, ascending to the right, bring
us to the church of Santa Rosa (PI. C, 2), a railed side-chapel (ring
for admission) in which contains the blackened mummy of that saint,
who urged the people to rise against the Emp. Frederick II. Annually
since 1664, on the eve of 3rd Sept., the image of the saint has been
carried from the Porta Romana to the church of St. Rosa on a trium-
phal tower (Macchina di Santa Rosa) 60 ft. in height. — We now
descend to the Corso Vittorio Emanuele (PI. B, C, 2, 3), which is
joined on the N.W. by the Via Principessa Margarita.

In the Piazza della Rocca (PI. B, 2) stands a fountain of 1566,
ascribed to Viynola, adjacent to which is the Gothic church of
San Francesco. In the left transept of the latter is the tomb of Pope
Clement IV. (d. 1268), to the right, and in the right transept that
of Hadrian V. (d. 1276), to the left; to the left of the high-altar is
the tomb of Fra Marco da Viterbo (later than 1536), and in the left
transept that of Cardinal Gerardo Landriani(1445). — Outside the
Porta Fiorentina lies the Giardino Pubblico (PI. A, B, 1, 2),

Excursions. About l'/4 M. to the N.E. of the Porta Fiorentina (comp.
PI. C, 1; diligence in 35 min.; one-horse cab 1 fr.) is the handsome
pilgrimage-church of Santa Maria della Querela (1470 1525). The reliefs in
the lunettes of the entrance are by Andrea della Robbia (1508) ; the wooden
ceiling is by Ant. da Sangallo the Younger (1519-25); Ihe ciborium is by
Andrea Bregno (1490). One of the two courts of the adjoining Dominican
monastery has a Renaissance loggia supported on Gothic foundations ; both
courts have pretty fountains. — About l'/< M. farther on is the small town
of Bagnaia (diligence in 1 hr. ; cab there and back, incl. stay at La
Quercia, 3 fr.). The Via di Mezzo leads to the right from the principal
piazza to the charming Villa Lanle, built in the 15-lb'th cent., the summer-
residence of the ducal family of that name (visitors admitted; fee 1fc &■)•

to Rome. TOSCANELLA. 72. Bowie. 101

About 5V-2 M. to the N. of Viterbo (comp. PI. C, 1) and 1 M. to the E.
of the road to Civitetta d'Agliano , are the ruins of Ferento , the Etruscan
Ferentwm, birth-place of the Emperor Otho. In 1172 it was destroyed by
the inhabitants of Viterbo on account of its heretical tendencies, for the
Ferentines represented the Saviour on the cross with open eyes, instead of
closed, as was thought more orthodox. Among the extensive mediaeval,
Roman, and Etruscan remains, where recent excavations h ve been richly
rewarded, a Theatre of peculiar and primitive construction, with later
additions, deserves notice. The return to Viterbo through the romantic
valley of the Aequo, Rossa is recommended.

About 2 M. to the W. of Viterbo is II Bullicame, a warm sulphurous
spring, mentioned by Dante (Inf. xiv. 79) and still used for baths. It is
a small pool lying in a hollow of a travertine hill, and is in a constant
state of effervescence owing to the action of the gas escaping to the sur-
face; like many other springs in this region, it is of volcanic origin.
The Stabilimento Bagni lies 1 M. to the S.W. The attractive road thither
Pit hr.) leads straight on from the Porta Faul (PI. A, 4) and commands a
fine view of Viterbo. The route to the left from the Porta Faul across
the small bridge leads direct to Castel d'Asso (see below).

Castel d'Asso, 5 M. to the W. of Viterbo, may be visited on horseback
or on foot. About lfa M. to the W. of the Bullicame we turn to the left,
traverse two ravines, turn again (13/4 M. to the S.) to the right, and in

2 M. more reach the valley, which contains a succession of Etruscan Tombs,
hewn in the rock. The fronts of these are architecturally designed, and
bear some resemblance to the rock-tombs of Egypt; numerous inscriptions.
On the opposite hill are the picturesque ruins of a mediaeval castle and
the remains of an ancient village, probably the Castellum Axia of Cicero.

From Viterbo to Toscanella, 14V2 M., diligence (I1/2 fr.) daily, in

3 hrs., starting at 9.30 a.m. from the Alb. dell' Angelo. — Toscanella
(544 ft. ; Albergo-Ristorante e Gaffe Porzi, new), the ancient Tuscana, is
a mediaaval-looking town of 4839 inhab., with walls and towers. Outside
the Viterbo gate is a picturesque ravine, with several Etruscan tombs.
Amidst the ruins of the ancient Arx, on the h°ight to the right, is the
Romanesque church of San Pietro (3/4 M. from the town), dating from
the 9th cent., and restored in 1039, though part of the florid facade is
later. In the interior are a tabernacle of 1093, choir-screens from the
original church, and (to the right of the choir) frescoes of the 11th century.
The crypt is ancient. The custodian lives adjacent, in the dilapidated
bishop's palace. — The adjacent line church of Santa Maria, in the valley,
was built in 1050-1206 and has a picturesque f ade. The pulpit has been
put together out of ancient and modern fragments. On the choir-wall is
an interesting fresco of the Last Judgment (14th cent.). Cust dian at the
Pala/.zo Comunale. Both churches are now disused. The old Romanesque
churches of the Gonfalone delta Rosa and San Silvestro are also interesting. —
From Toscanella to Corneto, see p. 8.

The highroad from Viterbo to Rome gradually ascends the slopes of
the Monte Cimino, the highest point (3454 ft.) of which, a half dis-
integrated volcano (trachyte), remains to the left. The Ciminian Forest
(Mons Ciminius) was looked upon as an impregnable bulwark of Central
Etruria until the daring Consul A. Fabius Rullianus successfully traversed
it in 310 B. C, and completely routed the Etruscans. The head of the
pass (2461 ft.; 7 M. from Viterbo) commands an extensive view. Below,
on the right, lies the Lago di Vico (1663 ft.), the ancient Lacus Ciminius,
a word-girt crater-basin 7l/2 sq. M. in area, 11 M. in circumference, and
165ft. deep; on its If. side, rises a lava cone {Monte Venere; 2736 ft.) of
more recent formation. The margin of the crater attains, in Monte Fog-
liano (on the W.), a height of 315 1 ft. — About 10 M. from Viterbo the road
to Caprarola (p. 102) diverges to the left. About 3 M. farther on is Ron-
ciglione (p. 102).

The Railway from Vitbebo to Rome (p. 97), opened in 1894,
has brought within the reach of modern traffic the interesting sites

102 Route 12. uArKAmuA. rrom Attigliano

of Southern Etruria, which have almost been forgotten since the
shortest carriage-road to Borne, which led through them, has been
deserted by tourists. — From the station outside the Porta Romana
(1145 ft.; PI. C, 5) the railway gradually ascends, crossing several
deep ravines. — 2t/2 M. San Martino al Cimino (1270 ft.). The
village (1840 ft.) lies over ilj-2 M. from the station. To the right
we have a view across the plain to the Monte Argentario (p. 5); to
the left are the wooded heights of the Monte Fogliano (p. 101).

8 M. Vetralla (1300 ft.). The little town (Albergo Centrale),
with 8020 inhab. and the 12th cent, basilica of San Francesco, lies
1Y4 M. to the right; 1 M. to the N.E. is the Roman Forum Cassii.

From Vetralla a visit may be paid (with guide) to the Necropolis of
Norchia. We follow the road to Corneto for about 2>/4 M., and then a
rough track to the N. over a bleak moor for 3 M. more. The valley ot
graves here is similar to that of Castel d'Asso (p. 101), but more imposing.
Two of the tombs are Greek in style. On the other side of the valley a
town named Orcle stood in the 9th cent., of which only the ruins of the
castle and church now remain. — Bieda, the ancient Blera, now a poor
village, 4'/2 M. to the S.W. of Vetralla, possesses similar rock-tombs and
two ancient bridges.

12 M. Barbarano (1495 ft.), on a barren moor, is the highest
point of the railway. — A viaduct of seven arches, 160 ft. in height,
crosses the deep bed of the Fosso Cacchiano.

15 M. Capranica (1302 ft.). The little town (Alb. deW Angela,
poor), with 3335 inhab. and two pointed church-towers, lies 1% M.
to the left of the principal station. Close to the town is the station oi
Madonna del Piano, on the branch-line that diverges from Capranica
to (5 M.l Eonciglione (1446 ft.; Aquila d'Oro, poor), a quaint little
town (6056 inhab.), rising with its walls and towers above a rocky
ravine and commanded by a ruined castle, about l1/* M. to the S.E,
of the Lago di Vico (p. 101).

An excursion may be taken from Capranica (2V2 M. ; 4>/4 M. from the
principal slation; diligence or carr. in l'/4 br.), or from Ronciglione (3 M.)
to the little town of Sutri (954 ft. ; Alb. Vanned), the ancient Etruscan
Sutrium, picturesquely situated on the narrow crest of a hill of tafa.
Sutrium is frequently mentioned as the ally of Rome in the wars against
the Etruscans, from whom it was wrested by Camillus in B C. 389 (Claustra
Etruriae), and in 3S3 it became a Roman colony. In mediaeval history
Sutri is known for the synod of 1096, which deposed Pope Sylvester III.
and Pope Gregory VI. for simony. The deep ravine of the Fosso Cacchiano
contains numerous Etruscan tombs, and, on the S. side, fragments of the
ancient walls. Three of the five gates are ancient, two towards the S.,
and the Porta Furia on the N. side (said to be so named after M. Furius
Camillus), now built up. Outside the Porta Romana, at the foot of an
eminence near the Villa Savorelli, is situated an Amphitheatre, hewn in
the rock (axes 55 and 44 yds. respectively ; key at the Municipio). The
rocks above contain numerous tomb-chambers, one of which is now a
church. — From Sutri to Trevignano, see p. 103 ; to Nepi, see p. 96.

The little hill-town of Caprarola (1574 ft.; 5591 inhab.) is reached by
footpaths in about 1 hr. from Ronciglione. Carriages follow the Viterbo
road for about 3 M. and then diverge to the right for 1 M. more (dilig'nce
twice daily in lhr., fare 50 c). The lofty 'Palazzo Farneie at Caprarola,
built about 1547-49 by Vignola for Cardinal Alexander Farnege, nephew
of Paul III., is one of the most magnificent chateaux of the Renaissance.
It is now in the possession of Count Caserta. The ground-plan is pen-

to Rome. smnjCIANO. 12. Route. 103

tagonal, with a central rotunda; the round centra] court, with its arcades,
is adjoined by five wings of equal size. The chief facade looks towards
the town (S.E.). The interior (accessible by special permission only) is
adorned with frescoes of scenes from the history of the Farnese family,
allegories, etc., by Federigo, Giovanni, and Taddeo Zucchero; the staircase by
Antonio Tempesta. The fine view ranges across the hilly country, with Sulri,
Nepi, and Civita Castellana, to Mt. Soracte; in the distance rise the dome
of St. Peter's and the Volscian hills , to the E. the Apennines , and to the
S.E. the Abruzzi. The beautiful gardens and the charming Palazzina,
also designed by Vignola, are not open to the public.

I772 M. Bassano di Sutri (1215 ft.), the next station, is preceded
and followed by a viaduct. The line enters the volcanic district
of the Lake of Bracciano. — 20^2 M. Oriolo Romano (1235 ft.),
with an old park of the Altieri family. — The line now descends,
passes through a tunnel, and crosses several viaducts. 23^2 M.
Monaiona(1243ft.)is beautifully situated among woods, on the slope
of Monte Calvario (1775 ft.). — Beyond another tunnel we reach —

26^2 M. Bracciano (915 ft. ; Alb. Sabazio , on the main road
from the station; Alb. delta Posta, Via Flavia, both with trattoria
and very fair). The station commands a beautiful view of the town
with its imposing mediaeval castle, and of the Lago di Bracciano with
the towns of Trevignano (to the left), with the Rocca Romana (see
below) above it, and Anguillara (p. 104; to the right), between
which Mt. Soracte and the blue Sabine mountains appear in the
distance. Bracciano has 1739 inhabitants.

The *Castle, built by the Orsini in 1460, but the property of the
Princes Odescalchi since 1696 (restored in 1894-99), conveys a
good idea of the character of a mediaeval stronghold. It is said on
this account to have riveted the attention of Sir Walter Scott in 1832
far more powerfully than the ruins of antiquity. Permission to in-
spect the castle is obtained at the 'Amministrazione del Principe
Odescalchi', in the piazza immediately below the castle. Under the
archway leading to the main court are two large frescoes by An-
toniazzo Romano, representing Virginio Orsini and his family. In
the interior of the castle are fine early-Renaissance furniture, medi-
aeval timber ceilings, and family portraits. The view from the

battlements is fine.

The almost circular lake of Bracciano (538 ft.), the Lacui Sabatinus
of antiquity, is about 22 sq. M. in area, 20 M. in circumference, and
530 ft. deep ; like the Lake of Bolsena (p. 93) , its formation is held
to be due to a volcanic subsidence. It is famed for its fish, and the
banks are well cultivated, the upper parts being wooded. It finds an
outlet to the sea in the Arrone (p. 6). The tufa deposits which sur-
round it extend as far as Rome, and it is evident that lava-streams once
flowed to the N. and U.E. Numerous eruptions must have occurred, as
is witnessed by the Lago di Marlignano (67t) ft. ; Lacus Alsietinu-), :,nd
the former lake-basins of Baccano (Baccanse) and Slracciacappa on the E.,
and by the Bay of Prevignano (see below), and the small lake of Mon-
terosi (784 ft.), on the N E. The large number of warm springs in the
district proves that volcanic energy is not yet extinct.

A road leads along the N.E. bank of the lake to (7 M.) Trevignano.
About I74 M. from Bracciano a path ascends to the left to the ('/« hr.)
church of San Liberalo (9th cent.) erected, as the inscription states, upon

104 Route 12. ttALiJEKA.."""

the site of an ancient villa called Pausilypon. Here stood the ancient Forum
Clodii. In the valley to the N.E. are the wine-cellars of Prince Odescalchi.
About 3 M. farther on, 8/4 M- to the left of the road, lie the thermal sul-
phur springs of the Baths of Vicaretto, perhaps the Aquae Apollinares of
antiquity, the ancient popularity of which was proved in 1852 by the dis-
covery of a large quantity of coins and votive offerings (see pp. 206, 363).
Owing to the malaria, the bathing season is not prolonged beyond the
early part of summer. By the road are seen many remains of villas of
the imperial epoch. The poor village of Trevignano Romano (579 ft.; (trat-
toria De Sunlis) lies on a typical semi-crater, and perhaps occupies the
site of the Etruscan town of Sabate, which early fell into oblivion. The
principal church contains two pictures of the school of Perugino. The
ruined castle, destroyed by Cesare Borgia, commands a fine view. — A
bridle-path leads hence in 2-2V4 hrs. to Sutri (p. 102), first ascending along
the E. slope of the Rocca Romana (1975 ft. ; tine view) to the N. of Tre-
vignano, and then passing between the tufa cones of Monte Galvi (1263 ft.),
on the left, and Monte Verano (1591) ft.), on the right. — Another path
skirts the lake to (2'/4 hrs.) Anguillara (see below); hut if the wind be
favourable it is preferable to cross the lake from Trevignano by boat.

3172 M. Crocicchie (755 ft.). To the right we now have a view
of the bleak Roman Campagna, with the faint outline of the dome
of St. Peter's in the distance, and the Alban Hills beyond. — 35 M.
Anguillara (338 ft.). The little town of that name, the ancestral
seat of the Counts of Anguillara, lies 2i/2 M. from the station, on the
S. bank of the Lake of Bracciano, and is not visible from the rail-
way. Near it are a few ancient remains. — 36l/2 M. Cesano (540 ft.),
l3/4 M. from the station, at the S. base of the once actively volcanic
Baccano (p. 103).

From this station we should visit the ruins of Galera. Crossing the
line we proceed straight on (S.S.W.) to the (3/4 hr.) Osteria Nuova (closed),
there cross the road, and on this side of the conspicuous cemetery lurn
sharp to the right, and traverse the meadows (in the direction of the
church- tower), passing finally (V2 hr. ) through a sunken lane. — Galera,
the ancient Careiae, stands on an abrupt tufj-rock wished by the Arrone
(p. 103); the inhabitants were driven from it by malaria at the beginning
of the 19ih cent., and the town lies in ruins. The walls of the 11th and
15th cent., the cistle of the Orsini, and a church are recognizable, all
densely overgrown with ivy and creepers. About Vs 5f- t0 tne S. of the
cemetery (see above) is the Casale di Santa Maria di Galera, belonging to
the Collegium Germanicum at Home, with some fragments from Galera
and a church of the 1 .th century.

From this point the subterranean conduit of the Acqua Paola
(p. 379) runs near the railway as far as Sant' Onofrio. — 42 M. La
Storta-Formello (525 ft.) was anciently the last post-station on the
route from the N. to Rome. About 2 M. to the S.W. are the ruins of
Veii (comp. p. 432). — Beyond (47 M.) Sant' Onofrio, a viaduct of
seven arches carries the line across the upper end of the Valle d'ln-
ferno, a deep ravine to the W. of the Monte Mario (p. 385), over-
grown with cork-trees and occupied below by brick-fields. The train
descends this valley and, beyond a short tunnel beneath the forti-
fications of Rome , crosses its lower end by means of a viaduct,
980 ft. long, with five arches. We traverse another tunnel, cross
the valley of the Gelsomina on another viaduct of seven arches, and
reach the station of (51 M.) Eoma San Pietro (450 ft. ; comp. Plan
of Rome, II, 5), */2 M. outside the Porta Cavalleggieri. — We pass

FAENZA. 13. Route. 105

under the Janiculum by means of a tunnel, 3/4 M. in length, and
descend in a curve to the terminus —

54 M. Roma-Trastevere (62 ft.), outside the Porta Portese
(p. 377; comp. Plan of Rome, III, 13, 11). Tramway to the Piazza
Venezia, see Appendix, p. 2, No. 9.

13. From Bologna to Rimini, Falconara (Home),
and Ancona.

127 M. Railway in 4i/4-7'/4 hrs. (fares 23 fr. 70, 16 fr. 60, 10 fr. 65;
express 26 fr. 25, 18 fr. 25, 11 fr. 85 c). — From Bologna to Rome, 300 M.,
express in 12 hrs. (via Florence in 9-10 hrs.). This train diverges to the
S.W. at Falconara, the last station before Ancona.

The towns on the coast of the Adriatic are far inferior in attraction
to those in Tuscany and Umbria; but without a visit to them the trav-
eller's acquaintance with Italy would be but imperfect. The views of
the Adriatic to the E., and of the Apennines to the W. are often charm-
ing, and the situation of some of the towns, especially Ancona and Re-
canati, is strikingly beautiful. Rimini, an ancient Roman colony and
frontier-fortress, possesses several fine monuments of antiquity, and its
church of San Francesco is an admirable Renaissance work. Roman trium-
phal arches are also preserved at Ancona and Fano; and Loreto boasts
of valuable sculptures in the Renaissance style. Urbino, too, the birthplace
of Raphael, lies within a short distance of this route. Many of the towns
now have galleries of pictures collected from the suppressed monasteries,
but of second-rate importance. The provinces of Pesaro-Urbino, Ancona,
Mactrata, and Ascoli are called the Marches (Le Marche; comp. p. 2).
In Roman times the S. part as far as Ancona was called Picenum, while
the N. part belonged to Umbria (comp. p. 110).

The line follows the Via jEmilia, which ran from Plac.entia to
Ariminum. — From Bologna via. (22 M.) Imola to (26 M.) Castel
Bolognese, junction for the branch-line to Ravenna, see Baedeker s
Northern Italy. — We then cross the river Senio, the ancient Sinnius.

31 M. Faenza. — Hotels. Cobona, Corso Aurelio Saffi, near the
Piazza VittorioEmanuele, R. 1-2, dej. incl. wine 2'/s fr., with clean trattoria,
well spoken of; Vittokia, Corso Garibaldi 71. — Railway Restaurant. — Cafis
in the Piazza Vitt. Emanuele and the adjoining 1'iazza del Duomo. — Cab
from the station to the town, with one horse 1 , with two horses l1/* fr. i
one-horse cab per hr. 1 fr. 70, each additional 1/2 hr. 85 c.

Faenza, a pleasant town with 21,809 inhab. , on the Lamone
(ancient Anemo), is the Faventia of the Celtic Boii, who were con-
quered by the Romans in 191 B. C. Faventia was the scene of
Sulla's victory over the consul Gn. Papirius Carbo in 82 B.C.,
during the civil war. In the middle ages it witnessed numerous
feuds, and in 1509 it was annexed by Julius II. to the States of
the Church. The town was famous in the 15-1 6th cent, for its pot-
tery, the manufacture of which has lately been revived ('fayence'),
and contains considerable silk and weaving factories.

From the railway-station we follow the Corso Alfredo Baccarini

and (within the city) the Via Filatoio. After passing the baroque

Palazzo Strozzi we turn to the left by the Corso Mazzini, and reach

, the Piazza Vittorio Emanuele, which is surrounded by arcades. In

106 Route 13. TXTTTZX. From Bologna

this square, to the left, is the Cathedral of San Costanzo, a
handsome early-Kenaissance basilica, named after Constantius, the
first bishop of Faventia (313), begun by Giuliano da Majano of
Florence in 1474 and completed in 1513. The facade is unfinished.
This church contains the tombs of Giov. Bosi (d. 1542; 1st chapel
on the right) and Africano Severoli (d. 1522; 5th chap, on the right),
both by Pietro Bariloto ; two reliefs of the Miracles of St. Savinus
(ca. 1450 ; over the altar in the last-named chapel) ; a Holy Family
by Innocenzo da Imola (covered ; 4th chap, on the right) ; a painting
of the Adoration of the Magi by Ferraii Fenzoni (in the beautiful
chapel to the right of the high-altar) ; and (in the chapel to the left
of the high-altar) the *Tomb of St. Savinus, with reliefs from his
legend below, by Benedetto da Majano (1468), and a painting of the
Burial of the Saint, by Fenzoni. — In the Piazza Vittorio Emanuele
are also the Palazzo del Comune and the Torre dell' Orologio ; the
fountain in the centre, embellished with bronzes, dates from 1621.
The Via Severoli, beginning at the post-office, at the S.W. end
of the piazza, leads to the right to the former monastery of Santa
Maria delV Angelo, which now contains various schools (PI. 2) and
the municipal Pinacoteca (first floor ; key kept by the curator).

At the end of the Vestibule : Colossal group of Mary with John the
Baptist and St. John the Evangelist, by AlJ. Lombardi. — Room I. Pace
da Faenza, Madonna with saints (14th cent.); Melozzo da Forli(.1), Pieta;
Leonardo Scaletti, Madonna with angels and saints (1484); Crucifixion,
St. Dominic and St. Peter; Giambattista Bertucci, Madonna with saints
(1506); Bagnacavallo , Betrothal of St. Catharine; Palmezzano , Madonna
with saints (1495), Bearing of the Cross (1535) ; Dosso Dossi, Two heads. —
Room II. Qiacomo Bertucci the Younger, Madonna with saints (1565), Descent
from the Cross; Cotignola, Baptism of Christ; Michele Manzoni, Martyrdom
of St. Eutropius; Tiepolo , Judith; Ferraii Fenzoni, Bethesda; Massimo
oVAzeglio, Landscape ; Ouido Reni, Madonna, with SS. Francis and Christina;
Van Dyck, Portrait of a lady. Also, good copy of the fresco in the Commenda
(see below). — In the Small Rooms : Two line 'cassoni', formerly belonging
to the Manfredi, and a wax-mask of the Dominican Paganelli. — In the
Room to the eight of the Entrance: Marble bust of John the Baptist,
by Desiderio da Seltignano (also attributed to Ant. Rossellino); wooden statue
of St. Jerome, by Donatello; terracotta bust of the 16th cent., and a Madonna
of the school of the Robbia.

In the Entresol is the important collection of majolica.

In the Via di Porta Montanara, to the left, is the church of San
Michele (PI. 5), with tasteful brick ornamentation, and, to the right,
the Palazzo Manfredi. — In front of the church of San Francesco,
in the Corso Garibaldi, is a marble statue of Evangelista Torricelli
(1608-47), who invented the barometer in 1643.

The Corso Aurelio Saffi leads from the clock-tower across the
bridge to the Borgo. The second church in it, to the right, the
Chiesa delta Commenda, contains a fine fresco by Oirolamo Pen-
nacchi da Udine (1533), representing the Madonna and saints (in
a recess in the choir).

From Faenza to Florence, see Baedeker's Northern Italy.

The train crosses the Lamone, then the Montone (litis) which,
united with the Ronco (Bedesis), falls into the Adriatic near Ravenna.

to Ancona. toklt. 13. Route. 107

40 M. Forli (*Alb. Masini, Via Giuseppe Garibaldi, R. 2l/2 *>• ;
Commercio; Vapore, R. l'/2 fr. ; Trattoria al Forno, very fair), the
ancient Forum Livii, said to have been founded by M. Livius
Salinator (188 B. C), is a well-built provincial capital -with
15,461 inhabitants.

Forli, where in 410 the marriage of Athaulf , King of the Visigoths,
with Qalla Placidia , sister of the Emp. Honorius was solemnised, was
long an independent state in which the Guelphs retained their ascendancy
down to 1315. The Ordelaffi then usurped the supreme power, which they
retained till 1480, when they were succeeded by Girolamo Mario, a favour-
ite of Sixtus IV. This- prince was assassinated in 1488, and his widow,
Caterina Sforza, was afterwards banished by Cesare Borgia. At length,
in 1504, Pope Julius II. annexed the city to the States of the Church. —
Forli was the birthplace of the poet Cornelius Oallus (d. B.C. 27), of the
historian Flavio Biondo (15th cent.), and of the eminent painter Melozzo
da Forli (1438-94), who was closely allied to Piero della Francesca (p. 55),
was recognised by his contemporaries as a master of perspective, and
was afterwards engaged at Rome.

The Piazza Vittorio Emanuele, the principal square, is enclosed
by handsome palaces. Here, to the left of the post-office, is the
church of —

San Meecxjeiale (so named after the first bishop of Forli). In
the 1st chapel to the left, Palmezzano, Crucifixion, with saints and
the donor; 4th chap, to the left, the decoration in which is by Jac.
Bianchi da Venezia (1536) , the Immaculate Conception by Palmez-
zano, one of his best works ; in the choir, behind the high-altar,
carved stalls by Alessandro de' Bigni (1532). — Opposite the church
is the restored Palazzo del Municipio, with a tasteless tower of the
18th century.

Proceeding to the N.W. from the piazza, we soon reach the
Piazza del Duomo, in which rises the Cathedbal op Santa Croce,
an imposing edifice entirely rebuilt since 1844, with the exception
of the large chapels in the transept. In the left transept is the Chapel
of the Madonna del Fuoco, the dome of which was adorned in 1686-
1706 with frescoes of the Assumption by Carlo Cignani of Bologna.
The painter is buried in the chapel. At the end of the right transept,
to the left, is a fine St. Sebastian by Rondinelli.

The Via Maldenti, leading to the right from the N.W. corner of
the piazza in front of the cathedral, and then the Via Cesare Her-
colani, also to the right, bring us in 5 min. to the church of —

Santi Biagio e Girolamo, which contains a few good paintings
(best light about 11 a.m.). In the double chapel (1st & 2nd) on
the right are frescoes by Palmezzano, History of St. James, early
works showing the influence of Melozzo, and (in the dome) prophets
and angels, by Melozzo. To the left is the tomb of Barbara Manfredi
(1466), by Francesco di Simone. In the 3rd chapel on the right is an
Immaculate Conception, by Quido Reni (covered). In the 4th chapel:
Palmezzano, Madonna and saints, with Girolamo Riario and Cate-
rina Sforza and their sons (1486), in the original frame. The fres-
coes in the dome are also by Palmezzano.

108 Route 13. V&tmh From Bologna

The Ginnasio Comtjnale, in the Piazza Morgagni, to the S. of
the Piazza Vitt.Emanuele, contains the municipal art-collections, in-
cluding the Pinacoteca, in which the school of Fori! is represented
by Melozzo and Palmezzano, and also by Cignani.

In the Court : Monument to the anatomist Morgagni (d. 1771), unveiled
in 1875. — On the Staircase, to the right: Sarcophagus of the 14th cent.;
Sarcophagus of St. Marcolinus, hy Antonio Bossellino (1458). On the first
floor, heneath a fine door-frame and lunette, Madonna with angels (formerly
in the cathedral), by Simone di Nanni Ferrucci, is the entrance to the —

Pinacoteca (fee i/z-l fr.). Passing through a corridor with engravings
we enter Room I. In the centre: Hebe, statue by Canova. To the left:
10. Mar cello Vermsti, Resurrection (restored); 39. Bonifazio, Madonna and
saints; 45. Ant. Barile, Taking of Christ (intarsia); 51. Pompeo Batoni, Diana
and Endymion. — The Large Room contains the gems of the collection.
Entrance-wall: Cagnacci , St. Valerian, St. Mercurialis, two large works;
78. Sienese School, Crucifixion (14th cent.). Then, tn the right: 84. Ag. Car-
racci, St. Francis ; 86. Guercino, Annunciation ; 98. Francia, Adoration of
the Child ; 99. Tapestry from the design of a Lower Rhenish master (Cru-
cifixion) ; Fra Giovanni da Fiesole, 103. Adoration of the Child, 104. Christ
on the Mount of Olives; Palmezzano, 110. Portrait, 111. Presentation in the
Temple, and 112. Flight into Egypt (both from altars), 114. Portrait of
himself in his 80th year (1536), 117. Crucifixion (1492), 119. SS. Anthony
Abbot, John the Baptist, and Sebastian; above, 118. Melozzo, 'Pestapepe',
an apprentice with pestle and mortar (a fresco , formerly used as a shop
sign); Palmezzano, 120. Annunciation, 122. Institution of the Eucharist
(1501); 130. Lor. di Credi, Portrait; 131. Nice. Rondinelli, Madonna; 134.
Crucifixion, a tapestry after the design of a South German master (ascribed
to Wolgemuf); 135. Cotignola, God the Father and saints (1519); 143. Ci-
gnani, Madonna in clouds with Santa Rosa; 151. Sassoferrato, Madonna in
prayer; 152. Sustermans, Portrait. — In the Small Rooms: Medals (among
which is the portrait of Caterina Sforza), Majolica, Pre-Roman and Roman
antiquities, marble bust of Pino Ordelaffi (15th cent.).

The church of San Pellegrino, opposite the Ginnasio, to the right,
contains a fine tomb of the 15th century.

The Citadel, constructed in 1361 by Cardinal Albornoz, and en-
larged by the Ordelaffi and Riarii, is now used as a prison.

From Fori) steam-tramways run to the If. to Ravenna (five times daily,
in li/2 hr. ; fares 2 fr. 15 1 fr. 30 c. ; see Baedeker's Northern Italy) and to the
S. to Meldola (five times daily, in 3/4 hr- 5 f<res 1 fr.. 60 c). — A diligence
route leads from Forli through the Apennines via Rocca San Caseiano and
San Benedetto to Pontassieve (p. 44; ca. 13 hrs. ; fare 7'/2 fr.)-

The Railway to Rimini crosses the Ronco and passes (45 M.)
Forlimpopoli (2259 inhab.), the ancient Forum Popilii; to the right,
on the hill, Bertinoro, with its productive vineyards, once the prop-
erty of the Malatesta. It then crosses the Savio (the ancient Sapis).

52 M, Cesena. — Hotels. Leon d'Oko (PI. a; C, 2), Piazza Vittorio
Emanuele, R. 2V2fr. ; Genio (PI. b; C, 2), with trattoria, very fair; Cappello.
— Railway Restaurant.

Cesena is a small town with 7470 inhab., surrounded by beautiful
meadows and hills, and boasts of several interesting palaces and an
ancient fortress (Rocca), built in 1380.

This town, the ancient Caesena, is one of the oldest episcopal sees in
Italy. During the middle ages it was at first an independent state then
became subject to the Ghibelline family of Montefeltro, and shortly' after-
wards to the Malatesta, who were partizans of the Guelphs. This rapid
change of rulers is alluded to hy Dante, Inf. xxvii. 53:

Cities i

. S. Antonio .
3. S .Francesco

?& dcvMcilatestn

§RT \\ l.S.FrancescoiOw.
^%-V_ ^ 5-S.GtroIamo

^\2%c< 7. S.lfartino.
.(Uo*^ui\ \> \ 8- Girmasio&ItSflitffa

' 10. TecOraVmmwIma
1. Vescova/io .

Geo£rapk Jtofrtak von

Wkgner & Debet

to Ancona. ojaojsrfjv. 73. Route. 109

Cost com* ella sie' tra il piano e il monte,
Tra tirannia si vive e stato franco.
In 1377 the town was cruelly sacked by Cardinal Robert of Geneva,
and subsequently by Cesare Borgia after which it was incorporated with
the States of the Church.

The Cathedral (PI. 1 ; D, 2) contains two fine marble altars of
the Lomhardi school (15th and 16th cent. ; in the aisles). — In the
Piazza Vittoiio Emanuele is the handsome Palazzo Comunale (PI. 2;
C, 2); the Piazza Edoardo Fabbri contains a statue of Pius VI., who
was born at Cesena in 1717, as well as his successor Pius VII. in
1742. — The small piazza known as the Oiardino Bufalini (PI. C, 1)
is embellished with a statue (by Cesare Zocchi) erected in 1883 to
the physician Maurizio Bufalini of Cesena. — The edifice to the N.
(PI. 3), built in 1452 by Matteo Nuzio for Domenico Malatesta No-
vello, contains the Biblioteca Malatestiana and the Municipal Library.
In the former are 4000 MSS., many of which were used by the
learned Aldus Manutius in preparing his famous editions of the
classics. The rooms containing the libraries are good examples of the
early-Renaissance style. The Pinacoteca in the same building con-
tains a good Presentation in the Temple by Franc. Francia.

On an eminence, 3U M. to the S.E., stands the handsome church of Santa
Maria del Monte, attributed to Bramante. It contains carved stalls of the
15th century. — Productive sulphur-mines in the vicinity, towards the S.

The train crosses the stream Pisciatello, the upper part of which,
called Urgone, is usually held to be identical with the Rubicon of the
ancients, the boundary between Italy proper and the province of Gallia
Cisalpina, and memorable for its passage by Caesar at the beginning
of the civil war between him and Pompey, B.C. 49. The lower course
of the Rubicon, which has altered its channel since antiquity, is now
represented by the Fiwmicino , which the railway crosses between
(56 M.) Gambettola and (60i/2 M.) Savignano di Romagna. The
Fiumicino is claimed by recent authorities to have been the real
Rubicon.

Most of the towns of this district have in turn laid claim to the distinc-
tion of possessing the Rubicon within their territory; a lawsuit involving
this question was actually instituted at Rome, and in 1756 the 'Rota' decid-
ed it in favour of the Uso. On the road between Cesena and Savignano
stands a column bearing a decree of the Roman senate, which threatens to
punish those who should without authority trespass beyond the Rubicon.
Montesquieu regarded this as genuine, but it is an obvious imposition.

The train crosses the Uso. 63 M. SanV Arcangelo di Romagna,
where Pope Clement XIV. (Ganganelli) was born in 1705 (d. 1774).
The Marecchia (the Ariminus of the ancients) is next crossed.

69M. Rimini. — Hotels. Aquila d'Oko, in the Corso d'Augusto
(PI. B, 4), R. 3, omn »/« fr., good ; Leon d'Oro, with trattoria, R. Ufa-I fr. ;
Italia, both at the Pescheria (PI. B, 5). — Trattoria del Commercio. Piazza
Cavour (PI. B, 5) ; "Railway Restaurant, good local wine. — Cafi del Corso,
Corso d'Augusto; Cafe" del Commercio, Piazza Cavour.

Carriage from the station to the Piazza, with one horse 1 fr., with two
horses 1 fr. 20 c. — Tramway in summer from the Piazza Cavour to the
bathing-place on the beach. — Post Office in the Piazza Cavour.

110 Route 13. IU2IIXI From Bologna

Rimini, beautifully situated about l/2 M- from tne -Adriatic at
the mouth of the Ausa (the ancient Aprusa) and Marecchia, with
29,545 inhab. and extensive fisheries and silk-manufactories, is
frequented by Italians for its sea-bathing. A Cursaal (cafe-restau-
rant) and lodging-houses have been erected on the beach, to which
a shady avenue leads from the Porta Marina (see below). The
shifting sands are apt to obstruct the harbour.

Rimini, the ancient Ariminum, a town of the Umbrians, became a
Roman colony in B.C. 268, and was the frontier-fortress of Italy in the
direction of Gaul, and the termination of the Via Flaminia (p. 117). The
town waa extended and embellished by Jnlius Caesar and Augustus. Dur-
.ng the Exarchate it was the northernmost of the 'Five Maritime Cities'
lPentapolis Marilima), which were ruled over by one governor. The
Hher four were Pesaro, Fano , Senigallia , and Ancona. In 260 Ariminum
oecame an episcopal see, and in 350 a council against Arianism was held
here. The town afterwards belonged to the Longobards.
h In the course of the 13th cent, the Malatesta made themselves masters
of the city. In 1288 Giovanni lo Sciancato ('the lame'), surnamed also
Oianciotto, put to death his wife, Francesca Polenta of Ravenna, and his
brother, Paolo il Bello (an event from which Dante derived the episode
of 'Francesca da Rimini' in the 5th canto of the Inferno, and Leigh Hunt
the materials for his 'Story of Rimini'). During the following century this
family ruled the greater part of the Romagna, and also, for a time, the
mark of Ancona. Under Louis the Bavarian they became vicegerents of
the emperor, but Cardinal Albornoz afterwards succeeded in reducing
them under the power of the pope. The Malatesta family, divided into
the Pesaro and Rimini branches, distinguished themselves as condottieri,
but also as patrons of learning. The most famous scion was Sigismondo,
son of Pandulfo (1417-68), who united the gifts of a great military leader
with the most violent passions. He attracted painters and scholars to his
court, in order to secure immortality for himself and his mistress (after-
wards his wife), the clever Itotta. — In 1528 the people revolted against
the Malatesta and placed themselves under the authority of the pope.

A broad road leads from the Station (PI. C, D, 3, 4) to the Porta
Marina, within which it is called the Via Umberto Primo. After
4 min. we follow the Via del Tempio dei Malatesta to the left,
passing a dilapidated Renaissance palazzo.

*San Francesco (Duomo, Tempio dei Malatesta ; PI. 3 , C, 5),
originally a Gothic edifice of the 13th cent., was magnificently re-
modelled in the early-Renaissance style in 1446-55 by Sigismondo
Malatesta from designs by Leon Battista Alberti and under the super-
intendence of Matteo de' Pasti. The windows of the original building
are retained. Of the facade unfortunately the lower part only has
been completed, while the dome intended by Alberti to surmount
the choir is wanting. The choir itself was restored in 1709. On the
plinth are the initials and arms (the elephant and rose) of Sigis-
mondo and Isotta.

The vaults on the S. side contain the sarcophagi of poets and scholars
whom Sigismondo entertained at his court. In the first four are the
remains of Basinio, the Parmese poet; Oiuslo de* Conti; Gemistui Pletho
(d. 1451), a Greek philosopher whose corpse Sigismondo brought hither
from his campaigns in Greece; and Roberto Valturio (d. 1489) the learned
engineer. In the others repose several physicians and a bishop of the
16th century.

The Intekioe was said by Pope Pius II. to resemble a heathen temple

to Ancona. m^,.. 13. Route. Ill

rather than a Christian church. To the right of the entrance is the Tomb
of Sigismondo (d. 146S). Most of the plastic ornamentation of the chapels
was executed by Agostino d' Antonio di Duccio of Florence; a few works are
by Ciuffagni. — 1st Chapel on the right : above the altar , St. Sigismund
of Burgundy, patron -saint of the founder; by the pillars, allegorical
figures of the virtues. — 2nd Chapel of the Relics ('Santuario' ; closed),
containing a (restored) ''Fresco by Piero delict Francesco (p. 55; ' Petri
de Burgo opus 1451'): Sigismondo Malatesta kneeling before his patron
St. Sigismund, with the castle, built by him (p. 112.), on the right. — In
the Cappella di San Michele, the 3rd to the right, is the Tomb of Isotta
(d. 1470), erected as early as 1450, with the motto 'tempus loquendi, tempus
tacendi'. The archangel on the altar, by Ciuffagni, is a portrait of Isotta.
By the pillars, angelic musicians. — 4th Chapel on the right: by the
pillars, the planets and other fantastic representations from a poem by
Sigismondo in honour of his mistress. — 4th Chapel on the left: by the
pillars, allegorical figures of the sciences. — 3rd Chapel on the left:
Children's games, probably by Simone di Nanni Ferrucci, a pupil ofDonatello.
— The 2nd Chapel on the left is closed. — The 1st Chapel on the left
is named the Cappella dell' Acqua from an ancient statue of the Madonna,
represented as sending rain. On the left is a sarcophagus for the re-
ception of the ancestors of the founder, with two reliefs, representing
the House of Malatesta in the Temple of Minerva and the Triumph of
Sigismondo. By the pillars, above the elephants, two portrait-medallions
of Sigismondo.

From the small piazza in front of the church, the Via Patera
leads to the S.W. to the Piazza Gitjlio Cesare (PI. 0, 5), the ancient
foium. A stone Pedestal here, erected by Sigismondo and restored
in 1560, commemorates Caesar's passage of the Rubicon (p. 109).
Near it is a chapel, on the spot where St. Anthony once preached,
and another on the canal is said to mark the spot where he preached
to the fishes because the people refused to hear him. — The Corso
d'Auqusto (PI. B, C, 4, 5), which intersects this piazza, leads to the
S.E. to the Porta Romana, and to the N.W. to the Piazza Cavour and
the bridge of Augustus.

The *Porta Romana or Areo d'Augusto (PI. O, D, 6) is a
triumphal arch of travertine, of elegant execution (note the capitals
on the outer side), erected by the Roman government to Augustus
in B.C. 27 out of gratitude for the restoration of the Via Flaminia
(p. 117), as the inscription on the outside records (inaccurately re-
stored ; the letters on the wall to the right of the gate also belong
to it). Above are medallion-figures : on the outside Jupiter and
Venus, on the inside Neptune and Minerva.

The scanty remains of an Amphitheatre, which held 12,000 spec-
tators (PI. D, E, 5) are uninteresting. But a walk on the ramparts
outside the Porta Romana to the under-mentioned Castello of the
Malatesta is recommended (PI. C, B, A, 6, 5).

The Municipio (PI. 9 ; B, 5), in the Piazza Cavour, contains a
small picture-gallery (fee 1/<2fj:.~), comprising: Perin del Vaga,
Madonna; Domenico del Ghirlandajo (school-piece), SS. Vincenzo
Ferrer, Sebastian, and Rochus; Giovanni Bellini, Pieta (fine early
■work); Benedetto Coda daRimini, Madonna enthroned with saints and
angelic musicians (1513); Jac. Tintoretto, San Domenico; Agostino
ii Duccio, Medallion-portrait of Augustus. — In front of the palazzo

112 Route 13. g_AN MAJfli© From Bologna

rises a bronze Statue of Pope Paul V. (inscription obliterated). Be-
yond the Teatro Vittorio Emanuele (PI. 1 0 ; B, 5) is the ancient Castello
of Sigismondo Malatesta (Rocca; PI. A, B, 5), now a prison, and in
a very dilapidated condition. The Malatesta arms are still to be seen
over the entrance.

The Library (PI. 8; C, 5), in the Via Gambalunga to the N.E.
of the Piazza Cavour, founded in 1617 by the jurist Gambalunga,
contains 23,000 vols, and several MSS. The small Museo Archeo-
logico here contains the fine tomb of a 'woman, a hermes of Pan, and
other antique sculptures, and tombstones of the 10-llth centuries.

At the end of the Corso the Marecchia (p. 110) is crossed by the
five-arched *Pontb d'Atjgusto (PI. A, B, 4), begun by Augustus and
completed (20 A.D.) by Tiberius. Fine view of the Apennines.
The bridge leads to the Borgo San Giuliano, where the Via /Emilia
(p. 105) united with the Via Flaminia (p. 1 17). Here, too, is situated
the church of San Oiuliano (PI. 6, A 3, 4; key at No. 45, the house
opposite), containing the Martyrdom of St. Julian, a large altar-piece
by Paolo Veronese (covered), and the Life of the Saint, an old picture
by Bittino da Faenza (1357).

An interesting excursion may be made from Rimini to (about 12 M.)
San Marino; diligence daily in 3 hrs. (fare ll/s fr.), starting from the Piazza
Cavnur at 12 noon; returning at 6 a.m. One-horse carriage there and back
ca. 15, two-horse ca. 22 fr. (and fee). The walk is also interesting (4'/2 hrs. ;
start from the Porta Montanara, PI. B, 6). — The republic of San Marino,
the smallest in the world (32 sq. M. in area, with 9500 inhab.), is traditionally
said to have been founded in an inaccessible wilderness by St. Marinus
(d. 366) at the time of the persecutions of the Christians under Diocletian.
As a matter of fact the settlement grew up round a Convent of San Marino,
which is known to have existed here as early as 8.-5, and afterwards ex-
tended its domains. This diminutive state obtained pupal recognition in 1631
and has maintained its independence ever since. It is governed by two
Capitani Reggenti, selected twice a year from the 60 life-members of the
Great Council, which is composed in equal proportions of representatives
of the noblesse, the land-owners, and the burghers. They are assisted by
the Small Council, a committee of 12 members of the Great Council.

Tne road from Rimini leads through the suburb of Borgo Maggiore
(1709 ft.), at the base of the precipitous rock (Monte Titano ; 2437 ft.) on
the N. end of which the town (pop. ca. 1500; Albergo del Titano, with
caK-restaurant, R. IV2-2 fr., fair) is situated, in a bleak district. In the
Piazza del Pianello (tine views) rises the Gothic Palazzo del Ooverno, by
Franc Azzurri (1894). In front of it is a statue of Liberty, presented in
1876 by an Englishwoman, who was rewarded with the title of Duchess of
Acquaviva. The Cathedral, built in 1826-38, contains the grave of St. Mari-
nus (see above). The Museum contains a small picture-gallery. The Rocca
(24'^0 ft.), which affords a fine '"View, is now a prison and not accessible
in the afternoon. The Giardino Borghesi also commands a fine view.
The epigraphist and numismatist Count Bartolomeo Borghesi, born at Savignano
in 1781, was from 1821 until his death in 1860 a resident at San Marino,
where he arranged and described his admirable collections.

From Bimini to San Leo, 20 M., diligence daily in 53/4 hrs., starting
at 8.30 a.m. (fares 5, 3 fr.). The road (see PI. A, 6) which is interesting
for walkers a'so, leads at first towards the S.W., ascending the monoton-
ous valley of the M.irec* hia. The imposing cone of San Marino is long
conspicuous to the left. On the height appears Verucchio the seat of the
Malatesta, to whom the castle visible on the other side of the river, above
Scorlicata, also belonged. The valley contracts. Beyond the (10 M.) bridge

Ideograph . Bnstatt vod

Wagner fc fleEes>3p

to Ancona. rw?Ai«T. 13. Route. 113

leading1 to Scorticata, which remains to the right, is a fair inn. About
2 M. farther on is a road leading to the left to (4 M.) San Marino. Beyond
(2 M.) Pietracuta we turn to the S. into the valley of the Massocco, and
about 2 M. farther on hegin to wind up the steep slopes of San Leo, en-
joying fine retrospects of Verucchio, San Marino, and the sea.

San Leo (pop. 2239; quarters at Letizia Frutta's) is a high-lying little
town (fine view), situated on a steep rncky height rising over the Marec-
chia. In its old Castle, now used as a prison, the impostor Cagliostro (Giu-
seppe Balsamo; b. at Palermo in 1743) died in confinement in 1795. The
former Cathedral is a Romanesque structure with a raised choir, a spa-
cious crypt, and some ancient details. Under the left flight of steps leading
to the choir is the sarcophagus of St. Leo. — A picturesque but fatiguing
footpath ascends to the 1T.E. to (3 hrs.) San Marino (see above). We follow
the road back to the valley of the Massocco, cross the river, and ascend
to the right to the Monte Maggio. We then descend to the Torrente di
San Marino, cross this stream, and re-ascend.

From Rimini to Ravenna, 31 M., railway in 1V4-2 hrs. (5 fr. 80 c,
4 fr. 10, 2 fr. 65 c). Ravenna, and thence to Ferrara, see Baedeker's Northern
Italy.

Beyond Rimini the line skirts the coast and crosses the streams
Marano and Conca (the 'Crustumium' of Lucan). 75 M. Riccione.
— 81 M. Cattolica, so called from having been the residence of
the Roman Catholic bishops during the Council of Rimini in 359.
The lower spurs of the Apennines descend here to the sea. After
threading a tunnel the train passes the Monte San Bartolo, with
the Villa Imperiale (p. 115), situated on the left. We then cross the
Foglia, the ancient Pisaurus.

90'/2 M. Pesaro. — Hotels. Albeego Zongo, Via Zongo (see below),
with restaurant , R. 2'/2 fr. , omn. V? fr- > Leone d'Oeo , Via Garibaldi
(PI. C, 4, 5). — Trattoria del Genio, in the Piazza, very fair. — Cafes. On
the ground-floor of the Alb. Zongo, entrance Via Branca; Caffe delta Piazza,
in the Piazza Vitt. Bmanuele.

Pott& Telegraph Office (PI. 6; C,4) at the Prefettura (p. 114). — Cab from
the station to the town, one-horse 80 c, two-horse 1 fr.

Pesaro, with 14,768 inhab., the ancient Pisaurum, is the capital
of the united provinces of Pesaro and Urbino. During the Renais-
sance period it was famous for its majolica (comp. p. 57).

Pesaro, first inhabited by the Siculi, then by the TJmbrians and Etrus-
cans, afterwards by Senonian Gauls, and a Roman colony as early as B.C.
184, was destroyed by Vitiges the Goth in 536 A.J)., and rebuilt by Beli-
sarius, after which it belonged to the Pentapolis Maritima (p. 110). It passed
to the Malatesta family in the 13th cent., in 1445 to the Sforza, and in
1512 to the Rovere, dukes of Urbino , under whom , chiefly through the
influence of Lucrezia d'Este, consort of Francesco Maria II., it became a
centre of art and literature , and was visited by Bernardo and Torqvato
Tasso. Bernardo completed his 'Amadis' CVAmadigi') here. In 1631 the
town was annexed to the Papal States. — The figs of Pesaro are celebrated.

Approaching from the Station (PI. A, 5) we enter the S. town-
gate and reach the Piazza Garibaldi, embellished with flower-beds
and a marble Statue of Garibaldi (1891). Thence, passing the Teatro
Botsini (PI. B, 5), we follow the Via Branca to the Piazza Vittorio
Emanuele, on this side of which (to the left) is the Via Zongo, with
the Albergo Zongo, once a cardinal's palace. On the right is the hand-
some portal of the former church of San Domenico (1390 ; PI. C, 4).

Basdekj " ' " " ""- "J1-i= — 8

114 Route io. jtzvoj-itt?. From Bologna

In the Piazza Vittobio Emantjele (PI. C, 4), -which is adorned
■with a large fountain, rises the imposing Pbefettuba, the ancient
ducal palace, built by Laurana for the Sforza about 1455-65, and
completed in the 16th cent, by the Rovere, whose architects were
Girolamo Qenga and his son Bartolomeo. The banquet-hall, 112 ft.
long and 54 ft. wide, still contains a painted wooden ceiling dating
from the latter half of the 16th century. In 1475 this hall was the
scene of the marriage of Costanzo Sforza and Camilla d'Aragon. —
Opposite stands the more modern Palazzo dei Pagi. Between the
palaces, to the right, is a facade erected in 1848, with marble statues
of the composer Gioachino Rossini (1792-1868), the 'Swan of Pesaro',
and the author Count Giulio Perticari (1779-1822), by P. Lorandini.
■ — At the other angle of the piazza is the Palazzo Municipale, in
front of which stands a monument to Count Terenzio Mamiani
(p. 227), a native of Pesaro, by Ettore Ferrari (1896).

To the W. of the Piazza, in the Via Mazza (No. 24), is the Palazzo
Almerici, with the Atbneo Pesaresb (PI. B, 4), comprizing the
municipal collections. Admission on Thurs. & Sun., 10-12, free ;
other days, 10-2, for a fee (1/2 ft.).

In the Vestibule are votive stones of the matrons of Pisaurum, among
the most ancient Latin monuments extant. In the court and on the stair-
case are Roman and Christian inscriptions and sculptures. — On the First
Floor are two reliefs, dating from about 1000 B.C., one with representations
of ships ; ancient terracotta images and lamps ; ivory carvings (early
Christian reliefs of the Expulsion from Paradise and the Stoning of Stephen,
and a slab from the so-called throne of St. Maximian in the cathedral of
Ravenna); early Italian bronzes and coins (aes grave from Vetulonia) ; an
image of Mithras in vitreous paste. Here also are an admirable Majolica
Collection (550 pieces ; many from Pesaro, Urbino, Castel Durante, and Gubbio ;
some of the last by Maestro Giorgio), a collection of paintings, including
two pictures by Zoppo (a Pieta and a head of John the Baptist), and a marble
bust of Napoleon by Canova. There is also a collection of natural history,
especially rich in shells. — On the Second Floor is the Biblioteca Oliviesi,
recently much increased by the acquisition of the Biblioteca Perticari,
and containing 50,000 volumes and 2000 MSS., amongst which are letters of
Torquato Tasso and others. Adm. daily, 9-4, except Sun. and holidays.

In the Palazzo Machirelli, now the Liceo Rossini (PI. B, 4), is a
sitting figure of Rossini by Marochetti, erected in 1864.

In the Via Rossini, which leads from the Piazza to the sea-baths
(eomp. PL O, 4, 3), stand the small house where Rossini was born
(PI. 2; O, 4), the Palazzo Mosca (opposite) , with a collection of
pictures, fayence, furniture, etc. bequeathed to the town (15 rooms;
open on Sun. & Thurs., 11-3), and the old Cathedral (closed at
present). Close by, in the hall of the Vescovado (PI. 8 ; C, 3, 4), is
an early- Christian Nymphaeum. — On the E. side of the town
stands the Rocca Costanza (now a prison), built by Giovanni Sforza.

The present cathedral (PI. C, 4), San Francesco, in the Via Roma,
has a Gothic portal and contains a *Coronation of the Virgin with four
saints, and beautiful predelle, by Giovanni Bellini (c. 1475 ; much
darkened), at the 1st altar to the left. — Sant' Agostino (PI. B, 3),
in the Corso TJndici Settembre, has a rich Gothic portal of 1412. —

to Ancona. MONTE SAN BARTOLO. 13. Route. 115

At the end of the Corso , near the spacious Lunatic Asylum (Mani-
comio; on the left) is the small Orto Giulio (PI. A, 3, 4), -with a
meteorological observatory and a fine view of the Foglia (spanned
by an ancient bridge) and of Monte San Bartolo (see below). — The
church of San Giovanni Battista (PL A, 4), in the Via Passeri, was
begun by Girol. Genga in 1540, and contains the tomb of Count
Giulio Perticari (p. 114).

To the N.W. of Pesaro rises Monte San Bartolo or Monte Accio (660 ft.),
where the Roman dramatist Lucius Attius is said to have been interred.
On the W. slope lies the ''Villa Imperiale, belonging to the Principe Al-
bani, at whose town-house in Pesaro (Via Mazza 5) tickets of admission
may be obtained. A steep road leads hither in about 3/4 hr. from the old
bridge over the Foglia (PI. A, 4; cab 4-5 fr., bargain necessary). Alessandro
Sforza built a country-house on this site, the foundation-stone of which
was laid by the Emperor Frederick III., on his journey to Italy in 1469.
The upper rooms were adorned by the Rovere with stucco-work, majolica-
plaques, and frescoes. In the 1st Room ('Stanza del Giuramento"), on the
ceiling, is the triumphal procession of Duke Francesco Maria of Urbino,
accompanied by Alfonso of Ferrara, by Oirol. Genga; on the walls, land-
scapes and putti, by Camillo Mantovano. The 2nd Room or 'Stanza delle
Cariatidi' (the finest), is decorated as an arbour, with figures of Daphne
and landscapes, by the brothers Dossi; on the ceiling is the duke with his
army. In the 3rd Room ('Stanza dei Semibusti) are the Coronation of
Charles V., and allegories after designs by Angela Bronzino. The frescoes
in the following rooms represent the duke being appointed commander-in-
chief by Cardinal Alidosi, Pope Leo X., and the doge of Venice. The 4th
room is adorned with charming grotesques in the style of Giovanni da XJdine.
The last room ('Stanza della Calunnia'), which has a fine stucco ceiling, is
embellished by paintings by Raffaellino del Colle, representing the duke
being crowned with a garland, Calumny (after Apelles), and the Christian
virtues. — Eleonora Gonzaga caused Girolamo Genga to erect a new palace
about 1530, near the old house, with an inscription on the facade to the
effect that it was built for her husband Francesco Maria 'a bellis redeunti
animi ejus causa'. It was never completed, but even in its present dilapi-
dated condition, it retains much beauty; fine view from the terrace. — In
the neighbourhood is the church of the Girolamitani ; one of the finest
views in the environs is obtained from an eminence behind the monastery.

The Municipio of the little town of Gradara, 7 M. to the N.W. of
Pesaro, contains a Madonna and saints by Giovanni Santi (1484); in the
Rocea is a terracotta altar by Andrea della Robbia.

From Pesaro to Uebino, 23 M., diligence twice daily in 4hrs. (back
in 3-3'/2 hrs.) ; fare 3 fr. 20 c, return-ticket (available for 15 days) 5 fr. 20 c.
The Meisageria Accelerata leaves the piazza of Pesaro at 6.45 a.m. and
Urbino at 3.30 p.m. ; the Diligenza Comunale starts at 3 p.m. and returns
»' 6 a.m. — The road leads through the fertile valley of the Foglia,
crossing the river beyond the village of Montecchio and, as we come in
sight of Urbino, ascends in windings. Above, to the right, is the ducal
palace, with three logge flanked by round towers. The diligence stops
in the Corso Garibaldi, a little below the inn. — Urbino, see p. 128.

Beyond Pesaro the Railway skirts the coast the whole way to
Ancona, being at places pushed close to the sea by the projecting
spurs of the Apennines.

98 M. Fano {Albergo del Moro, Via Nolfi; Cafe in the Piazza),
the Fanum Fortunae of antiquity, is indebted for its origin to a temple
of Fortune, a fact commemorated by a modern statue on the public
fountain. It is now a pleasant little town (10,535 inhab.), sur-

lib Route l'J. fxltct. From Bologna

rounded by ancient walls and a deep moat. The once celebrated
harbour is silted up and unimportant ; vessels anchor in a new
channel through which part of the water of the Metaurus (p. 118) is
discharged. The first printing-press with Arabic type was set up
here in 1514 at the cost of Pope Julius II. As a sea-bathing place
Fano is less expensive than Rimini.

We enter the town by the Via Nolft. Farther on, to the left, is
the Piazza, in which (in the Palazzo delta Ragione, 1299) is the
Theatre. One of the rooms adjoining it contains a David with the
head of Goliath, by Domenichino, and a Betrothal of the Virgin, by
Ouercino. — The old Gothic Palazzo del Municipio is reached through
the arch to the right of the theatre.

The S. side of the Piazza, which is enlivened by a fountain of
flowing water, is skirted by the Corso Vittorio Emanuele. Following
the latter to the right, we reach the Via dell' Arco d'Augusto, the
second street to the left. In a small piazza here rises the Cathedral
of San Fohtunato ; the four recumbent lions in front formerly support-
ed the pillars of the portico. The portal dates from the 13th century.

In the interior the chapel of San Girolamo (the 2nd on the left) contains
a monument of the Rainalducci family ; nearly opposite is a chapel (4th on
the right) adorned with frescoes by Domenichino (damaged). — In the chapel
to the right of the choir, a Madonna with two saints, by L. Carracci. —
In the court of the Veseovado, behind the cathedral, Via Montevecchio 7,
are a few sculptures, including three 13th cent, reliefs.

Farther on we come to the Abch of Augustus , which spans
the street ; a second story was added in the 4th cent. , when it was
dedicated to Constantine. It once had three openings, as is shown
by a view of it on the adjacent church of San Michele, adjoining the
handsome Renaissance portal. — Beside the arch is the Foundling
Hospital (Brefotroflo), a pleasing edifice with loggie.

Returning to the Piazza, we follow the Via Boccaccio opposite the
fountain, and then take the Via Bonaccorsi, inclining to the left, to
the church of Santa Mama Nuova, with its portico.

Interior. 1st chapel on the left: Giov. Santi, Visitation ; 2nd chapel: Peru-
gino , Annunciation (1498). 3rd chapel on the right: *Perugino, Madonna
enthroned and six saints , with predella (1497). Key at the house No. 14.

In the vestibule of San Francesco (closed) are the monuments of
Pandolfo III. Malatesta (d. 1427; to the right), perhaps by Leon
Battista Alberti, 1460, and his wife Paola Bianca (d. 1398; left), by
Tagliapietra (1413). — Santa Croce, the hospital-church, in the Via
Nolfl, contains a Madonna with four saints, by Giovanni Santi. —
San Pietro, in the same street, is an imposing and richly-decorated
church in the baroque style, with frescoes by Viviani on the vault-
ing ; in the chapel of the Gabrielli (1st to the left) is an Annunciation
by Guido Reni. — San Paterniano, dedicated to the first bishop of
Fano, possesses a Marriage of the Virgin, by Guercino. — In Sant1
Agostino (entr. by side-door, via the cloisters of the Seminario) is
a painting of Sant' Angelo Custode, by Guercino, the subject of a
poem by Robert Browning ('The Guardian Angel').

to AnconTt. v UBflOMBRONE. 23. Route. 117

An interesting excursion may be made to the Monte Giove (840 ft.),
on the top of which is a monastery, with a splendid view of the Adriatic
and the Apennines. It is reached in about 1 hr. by a good road from the
church of Rusciano (see below).

From Fano to Fossato via Fossombrone and the Fuklo Pass, corriere
daily (fare 10 fr.): to Fossombrone 3l/4 hrs., to Cagli 6'/4 hrs., to Scheggia
9l/2hrs., and to Fossato 12'/4 hrs. The road is the ancient road from Rome
to Rimini (p. 109), the Via Flaminia, constructed in B.C. 220 by the Censor
C. Flaminius, afterwards Consul (p. 53), to secure the district of the Po
which had been recently wrested from the Gauls. The road quits Fano
by the Arch of Augustus and the Porta Maggiore, traverses the plain to
(l3/4 M.) the church of Rusciano at the foot of Monte Giove (see above),
and then skirts the N. bank of the Metaurus, the monotonous but fertile
valley of which is well cultivated. About 1 M. from Fossombrone, near
the church of San Martino al Piano, was once situated the Roman colony
of Forum, Sempronii, destroyed by the Goths and Longobards.

15'/2 M. Fossombrone (Tre Re), long in possession of the Malatesta
family, accrued to the States of the Church under Sixtus IV. It is now
a busy little town with 7531 inhab. and silk-factories, prettily situated
in the valley, which contracts here, and commanded by a castle. The
Cathedral contains an altar by Domenico Rosselli (1480). — A road, quitting
Fossombrone by means of a lofty single-arched bridge, leads to the E. to
Mondavi o and Senigallia (p. 118). Diligence to JJroino, see p. 115.

The Via Flaminia beyond (18>/2 M.) Calmazzo (p. 130) crosses the Metaurus,
which descends from the valley near SanC Angelo in Vado from the N., and
follows the left bank of the Candigliano, which at this point empties itself
into the Metaurus. Urbino (p. 128) is seen in the distance to the right.
The valley soon contracts again; to the right rises the hill of Pietralala,
occasionally named Monte d'Asdrubale. Here, according to the popular
tradition, was fought the memorable battle of the Metaurus in which,
B.C. 207, Hasdrubal, whilst marching to the aid of his brother Hannibal
with 60,000 men, was signally defeated and slain by the consuls Livius
Salinator and Claudius Hero. This was the great event which decided the
2nd Punic War in favour of Rome.

The road, which skirts the river, now pierces the N.E. chain of the
Apennines by means of a ravine between lofty and precipitous cliffs. At
the narrowest point, where there is room for the river only, is the 'Furlo
Pass (623 ft.; Stsso Forato or 'Pierced Stone', the ancient Intercisa, later
Petra Pertusa), a tunnel 17 ft. wide, 14 ft. high, and about 40 yds. in length.
The founder of the work was the Emp. Vespasian (in A.D. 77), as the
inscription hewn in the rock at the N. entrance records (Imp. Caesar Aug.
Vespasianvs pont. max. trib. pot. VII. imp. XVII. p(ater) p(atriae) cos.
VIII. censor faciund. curavit).

About 3 M. beyond the pass is the small church Badia del Furlo, and
a little farther on lies (23l/2 M.) the village of Acqualagna (p. 127).

31 M. Cagli, see p. 127. — Travellers beyond CagJi are generally conveyed
in smaller carriages. Above the town the Burano, which the road skirts,
pierces the main chain of the Apennines by means of a wild and deep
gorge. At the other end lies (36V2 M.) Cantiano, with 1503 inhab. ; the
Collegiala contains a Holy Family by Perugino. — The road ascends rapidly,
and reaches the height of the pass, 2400 ft. above the sea. A little be-
fore arriving at Scheggia the road crosses a ravine by the curious Ponte
a Botte, constructed in 1805.

43'/2 M. Scheggia, an insignificant place, lies at the junction of the
roads to Fossato and Foligno and to (6 M.) Gubbio (the latter leading over
the pass of Monte Calvo, p. 57; carriage 5-6 fr.). On Monte Petrara, in the
vicinity, amid oak-plantations, stand the ruins of the temple of Jupiter
Apenninus, whose worship was peculiar to the Umbrians. Several bronzes
and inscriptions have been discovered in the environs.

The main road continues to descend the green valley of the Ckiaggio,
and leads via, Costacciaro and Sigillo (stalactite caves) to —

55 M. Fossato di Vico, a station on the Ancona and Rome line (p. 126).

118 Route

Beyond Fano the train crosses the river Metaurus (p. 117),
then the Cesano, beyond (105 M.) Mondolfo-Marotta.

112 M. Senigallia or Sinigaglia (^Alhergo Roma, near the har-
bour, good; Trattoria del Oiardino , near the Municipio) , the
ancient Sena Oallica, with 5556 inhab., chiefly occupied in fishing,
lies at the mouth of the Misa. The town was destroyed by Pompey
(in B.C. 82) during the Civil War between Marius and Sulla. It
was an episcopal see as early as the 4th cent., but was afterwards
frequently devastated by fire and sword, so that it now presents
quite a modern appearance. The house in which Pope Pius IX.
(p. xxviii) was born is shown ; it contains a few memorials. In summer
Senigallia is a favourite sea-bathing place. — The monastery-church
of Santa Maria delle Qrazie (1491 ; 2 M. to the S.W.) contains in
the choir a picture by Perugino (Madonna with six saints), and over
the 3rd altar on the right a small Madonna by Piero della Francesca.

From Senigallia via Mondavio to Fossombrone and thence to the Furlo
Pass, see p. 117.

1 1 9 !/2 M- Montemarciano. Pleasant view of the promontory of
Ancona. The train crosses the Esino. At (122 M.) Falconara Ma-
rittima (Rail. Restaurant) passengers for the line to Rome change
carriages (see R. 15). The town lies on the hill to the right.

127 M. Ancona.

14. Ancona and its Environs. Osimo. Loreto.

Hotels (comp. p. xvii). Gkand-Hotel Eoma e Pace (PI. d; D, 4), Via
Giacomo Leopardi 3, with lift, electiic light, central heating, and restau-
rant, B. from 2 fr., well spoken of; Gkand-Hotel Vittokia (PI. b; C, 3),
Corso Vittorio Kmanuele. — Milano (PI. c; C,4), ViaVenti-Nove Settembre;
Alb. della Fereovia, near the station, mediocre.

Cafes. Stoppani & Leva, in the Corso Vitt. Emanuele, at the corner
of the Piazza Eoma (PI. D, 4); Dorico, Piazza del Teatro (PI. C, 3). —
Trattorie. Romae Pace, see above; Picchio, Piazza Roma.

Post Office (PI. D, 4 ; 8-8 o'clock), Piazza Eoma (PI. D, 4). — Telegraph
Office, same place. — Theatre, Piazza del Teatro (PI. C, 3).

Gabs. One-horse cab from station to town , incl. luggage, 1, at night
IV2 fr. ; two-horse l'/s or 2 fr. For 1 hr., l>/2 or 2 fr. ; each 1/i hr. more,
60 or 80 c. — Beyond the town, 2 fr. 50 or 3 fr. 60 c. for 1 hr. ; each 1/2 hr-
more, 1 fr. 15 or 1 fr. 70 c. — Tramway from the station through the Via
Nazionale to the Piazza del Teatro (PI. C, 3); 10 c.

Steamboats of the Nawigazione Generate Italiana once a fortnight, on
the way from Venice to Bari, Brindisi, Alexandria, and Port Said; once
a week for Brindisi, the Piraeus, and Constantinople; and vice versa. —
Steamboats of the Societa di Ifavigazione Puglia once a fortnight on the
way from Bari and Earletta to Zara and Ficme. The boats of the Societb,
Ungaro-Croata ply direct to Fiume thrice a week in summer.

Sea Baths, near the station (PI. A, 6). Warm Baths, Piazza Stamura
(PI. E, 4).

British Vice -Consul, Edward A. Kane. — Lloyd's Agent, Umierto
Servadio.

Ancona, the capital of a province, with 33,337 inhab., of whom

upwards of 6000 are Jews, and possessing an excellent harbour, is

beautifully situated tetween the promontories of Monte Astagno

Geograph-Anstalt-v.ATagiier is. Detjes, Leipzig

■Xmittk. U. Route. 119

(PI. C, 6) and Monte Ouasco (PI. C, 1). The duties and harbour
dues produce an annual revenue of over 18.000,000 fr. Coals and
raw sugar are the chief imports, asphalt is the chief export. The
province contains sulphur-mines, silk-factories, paper-mills, and
vineyards.

Ancona was founded about 400 B.C. by Doric Greeks from Syracuse, and
thence named Dorica Ancon (i.e. 'elbow*, from (he shape of the promontory).
It was afterwards a Roman colony, and the harbour (see below) was en-
larged by Trajan. After 1he beginning of the Christian era it repeatedly
recovered from the ravages of the Goths and others, and in 1532 was made
over by Gonzaga to Pope Clement VII., who built a fort and garrisoned
it. Ancona is also frequently mentioned as a fortress of strategic import-
ance in modern history. Thus in 1796^ it was surrendered to the French,
in 1799 to the Austrians, in 1805 to the French again ; and in 1815 it was
ceded to the pope, to whom it belonged till 1860.

The Harbour, an oval basin of about 990 by 880 yds. in dia-
meter, is considered one of the best in Italy. The handsome quay,
called the Banchina, was completed in 1880. The N. pier is
of ancient Roman origin. At the beginning of it rises the well
preserved marble *Triumphal Arch. (PI. B, 1), erected A. D. 115
by the Roman senate and people in honour of Trajan on the com-
pletion of the new quays, as the inscription records. Its original
bronze enrichments have long since disappeared. The new pier
constructed by Pope Clement XII. , a continuation of the old, also
boasts of a Triumphal Arch (PI. B, 1), designed by Vanvitelli, but
far inferior to the other. At the S. angle of the harbour is the old
Lazzaretto (PI. B, 5), built in 1732, now a sugar-refinery (PI. B, 5),
The harbour is defended by several forts.

The *Cathedral of San Ciriaco (PI. C, 1), dedicated to the first
bishop of Ancona, stands on the Monte Ouasco, an excellent point of
view. The church (consecrated in 1128 and completed in 1189)
occupies the site of a temple of Venus mentioned by Catullus and
Juvenal, and contains ten of its columns. It is built in a mixed
Byzantine and Romanesque style, in the form of a Greek cross, each
of the arms being flanked with aisles. The dodecagonal dome over
the centre of the cross is one of the oldest in Italy. The facade
(13th cent.), ascribed to Margheritone d'Arezzo, has a beautiful
Gothic portico, the front columns of which are borne by red lions.

Interior (closed 12-4.30 p.m.). In the Left Aisle, in front, is a tomb
of 1530, and near it that of B. Girolamo Gianelli, by Giov. Dalmala (1509).
In the Right Transept the semi-Byzantine capitals have been preserved;
the railing of the steps to the choir dates from the 12th century. — In
the Crypt, to the right, sculptures of the 13th cent.-, relief of Christ
between an ox and a lion (the symbols of the evangelists SS. Luke and
Mark), by Philippics; beneath, Head of Christ and St. George; tomb of
the Franciscan B. Gabriel Ferretti (1456); in the corner, three statuettes
(12th cent.); then, poor terracotta figures of SS. Cyriacus , Marcellinus,
and Liberius; interesting 12th cent, reliefs, probably from the antient
choir of the left transept; Sarcophagus of Fl(avius) Gorgonius, Praetor of
Ancona, with reliefs (in front, Christ and the apostles with Gorgonius
and his wife at the Saviour's feet; on the lid to the left of the inscription,
Adoration of the Magi; to the right, Moses, Goliath, David, Baptism of
Christ; on the left end, Moses, Abraham's Offering, on the right end, Magi

120 Route m. A«wn2t. Museum.

before Herod, etc. ; 4th cent.) ; farther on, Roman head ; statue of St. Pri-
mianus ; relief of Christ fl2th cent.); sarcophagus of SS. Cyriacus and Liber-
ius. — The Cktpt of the Left Transept (restored) contains the tombs of
SS. Cyriacus, Marcellinns, and Liberius, in the baroque style (fee 30-40 c).

Pope Pius II. Piccolomini, while vainly endeavouring to organise
a crusade against the Turks, died in the Episcopal Palace, adjoining
the cathedral, in 1464. The palace commands a splendid view of
the sea. — Within a house at the foot of the hill are scanty remains
of a Roman Amphitheatre.

The Palazzo del Comunb (PI. C, 2), built in the 13th cent, by
Margheritone d'Arezzo, was restored (after 1493) from the plans of
Francesco di Giorgio, and partly modernized in 1647. The reliefs
of Adam and Eve on the facade and the lower part of the rear date
from the original building. On the staircase in the interior is a
statue of the law-giver Marco de' Rossi (14th cent.).

The Strada delle Scuole descends from the Palazzo del Comune.
On the left is the church of San Francesco (PI. D, 2 ; now a hospital),
resting on a massive substructure with a rich Gothic portal, by
Giorgio da Sebenico (1455-59). — The street next leads (r.) to the
Prefettura (PI. D, 3), the fine court of which is flanked by Gothic
arcades (with Renaissance capitals) and has a fine Renaissance arch-
way. — We proceed through the court to the Piazza del Plbbiscito
(PI. D, 3), reached by steep approaches between which is a statue
of Clement XII by Cornacchini. — Farther up is the church of San
Domenico (PI. D, 3) , which contains a Madonna and SS. Francis
and Nicholas by Titian (in the 4th chapel on the right), beautiful
and imposing in its composition, though now much injured (1520).

Adjoining the church on the right is the Museum (Civicd Pina-
coteca Podesti e Museo Archeologico delle Marche).

On the Ground Floor is the Archaeological Museum (open 10-3, Sun.
10-1). Vestibule. Keystones from the doorways of houses and other reliefs
of the 13th cent., including large groups of Cain and Abel, etc., from the
old Palazzo Comunale. — Room I. Chiefly Roman antiquities and coins. —
Room II. Antique bronzes and vases ; medals ; skeleton of a warrior with
a bronze helmet (7th or 8th cent. B. C.), found in 1892 at Novilara, to the
S. of Pesaro.

Upper Floor. The Picture Gallery here includes a few good works
of the Venetian school (open free on Sun. & Thurs., 10-1; on other days
on application to the custodian, 10-12; fee 50 c). Room I. Paintings and
cartoons by Francesco Podesti. — Room II. 1. Curio Crivelli, Small Madonna ;
8. Titian, Crucifixion (damaged); 9. Pellegrino Tibaldi, Baptism of Christ;
11. Ouercino, Cleopatra; 13. Lorenzo Lotto, Assumption of the Virgin (1550;
spoiled by restoration); 27. Ciccarelli, Relief of the Madonna; 30. Ouercino,
St. Pelagiu ; '37. Lorenzo Lotto, Madonna enthroned, with four saints.

The Via Bonda descending to the right from the Prefettura
leads to the Loggia dei Mercanti (Exchange, PI. C, 3), a late-Gothic
edifice with a facade by Giorgio da Sebenico (1454-59). In the in-
terior are paintings by Pellegrino Tibaldi and stucco-work by Varll. —
Adjoining, on the left, is the pretty Palazzo Benincasa (15th cent.).
— Farther on to the right we reach the church of Santa Maria della
Piazza (PI. C, 3), with an elaborate facade (1210); the sculptures

Excursions. ANCOH&. hi. Route. 121

are by Philippus. Still farther on, on the same side, is the church
of Santa Maria delta Misericordia (PI. C, 2), with an early-Renais-
sance portal. — We return through the Strada della Loggia to the
Piazza del Teatro (PI. C, 3), the centre of traffic, beyond which
is Sant' Agostino, with a late-Gothic portal showing a Renaissance
tendency, by Giorgio da Sebenico (begun in 1460).

Prom the Piazza del Teatro the Corso Vittorio Emanuele
(PI. C, D, E, 4) ascends towards the E., through the new quarters
of the town. At the end is the Piazza Cavour (PI. E, 4), with a
marble statue of Count Cavour in the centre (1868). At the point
where the Corso Giuseppe Mazzini passes the Piazza Roma is a
tasteful fountain of the 16th century.

A pre-Boman Burial Ground was discovered in 1902 outside the Porta
Cavour (PI. F, 4); the objects found in it are now in the Museum (p. 120).

Excursions from Ancona.

The Province of Ancona, the ancient Picenwm, is a remarkably fertile
district, abounding in beautiful scenery. The Apennines send forth a series
of parallel spurs towards the sea, forming short, but picturesque valleys.
The towns are invariably situated on the heights. To the W. the view is
bounded by the Central Apennines , usually covered with snow, which
here attain their greatest elevation in several continuous ranges, from the
Monti Sibillini (p. 82) to the Gran Sasso oVIlalia (9560 ft.).

On the coast, 9 M. to the S. of Ancona, rises the Monte
Conero or Monte di Ancona (1875 ft.), the Promontorium Cunerum
of antiquity, with a Camaldulensian monastery, commanding a
superb panorama. The hill, consisting of limestone, does not form
part of the Apennines, in front of which it lies, and geologically
considered is perhaps, like Monte Gargano, a remnant of the Dal-
matian limestone plateau which is now submerged by the Adriatic.
The pedestrian follows a tolerable road over the coast-hills nearly
as far as (7 M.) Sirolo (2676 inhab.), whence a path to the left
ascends in 3/4 hr. to the top. A carriage (see p. 118) may be
taken as far as the foot of the hill. An alternative route is to take
the train to Osimo (see below) and thence proceed by diligence to
Sirolo (13/4hr., fare 50 c).

TheANCONA-FoGGiA Rail-way (to Loreto, 15 M., in 31-50 min.;
fares 2 fr. 80, 1 fr. 95, 1 fr. 30 c, express 3 fr. 10, 2 fr. 15 c; to
Porto Civitanova, 27 M., in 1-lVs nr-) penetrates the heights en-
closing Ancona by means of a tunnel. 4 M. Varano. To the left
rises the finely formed Monte Conero (see above).

10 M. Osimo {Albergo Corona, in the market-place; omnibus
from the station to the town, 3 M., 75 c), the ancient Auximum,
colonised by the Romans in 157 B.C., and mentioned by Caesar, is
now a country-town with 6404 inhab. , and lies on a hill (870 ft.) in
a commanding position. The N. part of the Town Wall (2nd cent.
B.C.) still exists. A walk round the town affords beautiful views.
The Palazzo Pubblico in the Piazza contains inscriptions and statues

122 Route Excursion*

in Roman dress, found on the site of the ancient forum in i
15th cent., hut mutilated by the Milanese in 1487. Here are a
a Madonna and angels, by Lot. Lotto, and an altar-piece by Ba
Vivarini. The Cathedral, the poTtal of which is adorned w
sculptures of the 13th cent., contains a fine bronze font (16th ceil
Proceeding hence by railway, we perceive, to the right, Casi
fidardo, where on 18th Sept., 1860, the papal troops under Lamo
ciere were totally defeated by the Italians under Cialdini.

15 M. Loreto. — Hotels (comp. p. xvii). Pace e Gemelli, v
electric light, R. l'/j, B. 3/4, de'j. 2, D. 3 fr. ; Pellegrino, in the Piaz
Roma, well spoken of; Pens. Tommaso Ferki, in the Piazza, under
arcades, to the left, >To. 77. — Trattoria di Franc. Bitti, Via della Piazzetta

— 'Posto' in Omnibus or Gab to the town, 60 (hack 40) c. ; one-horse
(o Recanati, 3-4 fr. (bargain beforehand). Those who walk from
station to the town leave the main street to the right, at the point wl
it is crossed (viaduct) by a street running towards the E. end of the chu:

— Loreto is infested by beggars and importunate (but useless) 'guides

Loreto (1178 inhab.), situated on a hill ll/2 M. from the li
with admirable views of the sea and the Apennines, is a celebra
resort of pilgrims. It consists of little more than a single long str<
full of booths for the sale of rosaries, medals, images, etc. An i
portant festival takes place on Sept. 8th (Nativity of the Virgin)

According to the legend, the house of the Virgin at Nazareth bee;
an object of profound veneration after the year 336, when the a
Empress Helena, mother of Constantine, made a pilgrimage thither,
caused a basilica to be erected over it. Owing to the incursions of
Saracens the basilica fell to decay, and after the loss of Ptolemais (A
the Cam Santa was miraculously transplanted by the hands of angel
1291 to Tersatto, near Piume. Three years later, however, it was a|
removed by angels during the night, and deposited in a laurel-g]
( Lauretum) near Recanati. A church was erected over it, and houses (
sprang up for the accommodation of the believers who flocked to the s
In 1586 Pope Sixtus V. accorded to Loreto the privileges of a town.

Among the numerous pilgrims who have visited this spot maj
mentioned Tasso, who thus alludes to it: —

lEcco fra le tempeste, e i fieri venti

Di questo grande e spazioso mare,

0 santa Stella, il tuo splendor m"ha scorto,

CtC illustra e scalda pur Vumane mentf.

The large *Chiesa della Casa Santa, with nave and aisle
equal height and a transept with aisles, was begun on the sit
an earlier church in 1468 for Pope Paul II. and was continue!
1479-86 by Giuliano da Majano of Florence. The lofty dome s
ported by eight pillars above the crossing was completed in 1
by Oiuliano da Sangallo , the interior was altered after 1526
Antonio da Sangallo the Younger, while the handsome traver
facade was erected in 1583-87 under Sixtus V., a colossal sta
of whom adorns the entrance flight of steps. Over the princ
door is a lifesize statue of the Madonna and Child, by Oiroh
Lombardo, whose sons and pupils executed the three fine brc
doors, under Pope Paul V., in 1605-21. The campanile, desig
by Vanvitelli, is a lofty structure in a richly - decorated style, s

from Ancona. IMHEITT. 14. Route. 123

mounted by an octagonal pyramid. The principal bell, presented by
Pope Leo X. in 1516, weighs 11 tons.

In the Interior, to the left of the entrance, is a beautiful font, cast
in bronze by Tiburzio Vercelli and Giambattista Vitale , and adorned with
bas-reliefs and figures of Faith, Hope, Charity, and Fortitude. On the al-
tars and in the chapels of the nave are mosaics representing St. Francis
of Assisi, by Domenichino, the Archangel Michael, by Guido Reni, etc.

The Right Tkansept, the central chapel of which is adorned with
modern frescoes, is flanked on each side by Sacristies, containing celebrated
"Frescoes. In the sacristy to Ihe right the Entry of Christ into Jerusalem,
and the elaborate ceiling painted in imitation of architecture, with pro-
phets and angels (1478), are by Melozzo da Forl'i (p. 107). Tbe frescoes
(freely restored) in the Sagrestia della Cura (to the left) are by Luca Sig-
norelli (p. 51) and his assistant Bart della Gatta: the Apostles, Christ and
the Doubting Thomas, Conversion of St. Paul, and (in the dome) Evan-
gelists, church-fathers, and angels (ca. 1480); the marble fountain and the
inlaid door are by Ben. da Mojano, the intarsia panelling by Bom. da AsHsi.

The Choir Apse is richly painted from the designs of Ludwig Seitz
(1893). — In the Dome are fine frescoes by Get. Maccari.

In the centre of the church, beneath the dome, rises the Casa Santa
(or 'Holy House'), a simple stone building, 13l/2 ft. in height, 28 ft. in
length, and 12l/2 ft- in width, surrounded by a lofty "Marble Screen, designed
by Bramante (1510), and executed by Andrea Sansovino (1513-29), Giro-
lama Lombardo, Bandinelli, Tribolo, Raffaello da Montelupo, Guglielmo della
Porta, etc., with bronze doors by Girolamo Lombardo. It is adorned with
statues of prophets and sibyls, and (on the S. side) of David and Goliath,
and with reliefs, among which are: on the W. side, Annunciation, by San-
sovino; S., Nativity, by Sansovino; Adoration of the Magi, by Baffaello da
Montelupo and Girol. Lombardo; E., Arrival of the Casa Santa at Loreto, by
Niceolb Tribolo; above it, Death of the Virgin, by Domenico Aimo ; N., Nativity
of the Virgin, begun by Sansovino, continued by Baccio Bandinelli and
Raffaello da Montelupo ; Nuptials of the Virgin, by the same masters.

In a niche of the interior is a small black image of the Virgin and
Child, in cedar, attributed to St. Luke. It is richly adorned with jewels,
the lustre of which is enhanced by silver lamps always kept burning.
In 1798 it was carried off to Paris by the French.

In the N. Transept is the entrance to the Treasury (open free to the
public, 9-11.30 and 2.30-3.30 in summer 4.30-5.30, at other times only with
permesso), which contains valuable votive offerings and curiosities, the
gifts of monarchs and persons of rank (chiefly of the 19th cent.). The
ceiling-painting is by Poinarancio.

In the Piazza in front of the church are the Jesuits' College and
the unfinished Palazzo Apostolico, or Kegio, begun in 1510 by
Bramante, continued by And. Sansovino and Ant. da Sangallo the
Younger. It contains a collection of works of ait (fee V2-I fr.).

Pictures : Lor. Lotto, Adoration of the Child, SS. Christopher, Rochus,
and Sebastian, Christ and the woman taken in adultery, and four other
works; Vouel, Last Supper; Schidone, St. Clara; Guercino, Descent from
the Cross; Ann. Carracci, Nativity. — Tapestries after Eafhael's Car-
toons (Paul at Lystra, Healing the Lame, 'Feed my Sheep', Elymas the
Sorcerer, Holy Family, Miraculous Draught of Fishes, St. Paul's Speech). —
Majolica, chiefly from Urbino.

At (I71/2 M.) Porto Recanati (4628 irihab.) we alight for —

Recanati (Albergo Corona ; Trattoria Spezioli, with bedrooms,
clean; 15,297 inhab.), situated 4'/2 M- to tne w- and commanding
charming views of the Apennines and the sea. It was a fortified
and important place in the middle ages. The handsome Municipio
contains two good works by Lor. Lotto (Madonna enthroned, 1508;

124 Route 14. IVliEUElCTXA. ExotTSiotU

Transfiguration, 1512), a bronze bust of Leopardi (see 'below) by
G. Monteverde (1898), and a charter of municipal privileges accorded
to the town by Emp. Frederick II. in 1229. The Cathedral of
San Flaviano, with a Gothic porch, contains the monument of Gre-
gory XII., of 1417. In the small church of Santa Maria sopra
Mercanti is an Annunciation by Lor. Lotto. San Domenico (with a
fresco of the Apotheosis of St. Vincent Ferrer by Lor. Lotto) and
SanV Agostino have Renaissance portals of 1481 and 1484, while
the palace of Card. Venier has a loggia (towards the court) by Giu-
liano da Majano (1477-79). The palace of the Leopardi contains the
collections of the scholar and poet Count Qiacomo Leopardi (d. 1837),
to whom a marble statue has been erected in front of the Municipio.
A diligence runs from Recanati to Macerata (see below) in 2>/2 hrs.
(fare 1 fr.), passing the interesting ruins (amphitheatre and bridge) of
Helvia Ricina (see below).

The train crosses the Potenza. 23 }/L. Potenza Picena (4818 in-
hab.), named after a. vanished Roman colony.

27 M. Porto Civitanova, at the mouth of the Chienti; the town
of Civitanova (508 ft. ; 3869 inhab.) lies 3 M. inland. — Thence to
Pescara, Foggia, etc., see Baedeker's Southern Italy.

From Poeto Civitanova to Fabriano, 59Vs 31., railway (two through-
trains daily) in 3V2-51/* hrs. — The line at first ascends the fertile valley
of the Chienti. 5 M. Montecosaro ; 8 M. Morrovalle-Monte-San-Oiusto; 13'/2 M.
Pausula, a town on the height (836 ft.) to the left, with 2300 inhabitants.

17V2M. Macerata (1020ft.; Alb. Centrale, R. 2fr., clean; Milano; Europa;
" Trattoria Fanfulla ; Cafi, at the post-office), a flourishing town with 6176 in-
hab. and a legal seminary (250 students), capital of the province of Macerata,
is picturesquely situated on the heights between the valleys of the Chienti and
Potenza. Like Recanati, Macerata sprang up after the destruction of Helvia
Ricina, of which there still exist some remains of an amphitheatre and of
a bridge on the Potenza, 3 M. to the N.W. of Macerata. From the rail,
station we follow (left) the Via delle Mura (views) to C/2 M.) the large
Convitto Nazionale. Hence the Via del Convitto leads to the right to the
town and ascends to the church of San Giovanni, with an Assumption of
the Virgin, by Lanfranco. Adjacent is the Biblioteca Comunale, containing a
small Pinacoteca (open on week-days, 9-2), the chief treasures of which
are SS. Julian and Anthony of Padua by Gentile da Fabriano (1; No. 35),
a Madonna by Carlo Crivelli (1470; No. 36), a Madonna with SS. Julian and
Anthony by Allegretto Nuzi da Fabriano (1369 ; No. 39), and a Penitent by
Lanfranco (No. 55). It also contains a few antiquities and coins. Proceeding
hence in a straight direction past the Post Office, we reach the main Piazza,
with the Palazzo Municipale (in the court, ancient toga-statues and inscrip-
tions) and the Prefettura, a Renaissance palace of the Gonzagas, with Gothic
survivals. We then descend, passing the Cathedral and the small church of
Santa Maria del Porto (late-Romanesque brick facade), to the Porta Mercato,
built by Pius II. Outside the town, 3/4 M. to the right of the station, is
the church of Santa Maria delle Vergini, by Galasso da Carpi (1573).

22 M. Urbisaglia. The road to the little town of this name, which lies
5 or 6 M. to the S.W. (diligence), crosses the Chienti and the Fiastra and
passes the villa of Prince Bandini, a secularized convent with a large garj
den and an interesting Romanesque church. Further on the Monti Sibillini
(p. 82) come into sight. The loftily situated Urbisaglia {Osteria Nuova,
very fair), to the W. of the road, occupies the Arx of the Roman Urbs Salvia,
which spread over the whole slope as tar as the Fiastra and was destroyed
by Alaric. A ruined theatre and amph'theatre and traces of many other
ancient buildings still remain. The medieeval wall, which enclosed the

from Ancona. 'TOtiKiri'lTTO. 14. Route. 125

whole space, may also be traced ; on its N.W. side it has utilised some
ancient masonry. — 24*/2 M. Pollenza.

28'/^ M. Tolentino (735 ft.; Corona, mediocre; Falcone, near the piazza,
unpretending), the ancient Tolentinum Picenum, prettily situated on the
CMenti- with 5111 inhab., was once strongly fortified. The rail, station is
about V2 M. from the town. To the left stands the church of San Catervo,
which contains the e;irly-Christian sarcophagus of St. Catervus, and frescoes
of the 15ih century (School if Pinturicchio). A few hundred paces farther
on is the Museo Civico, established in the Renaissance cloisters to the N.E.
of San Niccolo. Among its contents are a toga-statue and the proceeds of
the excavations carried on by Count Silveri Gentiloni since 1S80 in the
Picene necropolis surrounding the town (8-4th cent. B.C. ; key kept at the
Pal. Gentiloni, nearly opposite). Adjacent is the Cathedral of San Niccolo,
which possesses a fine portal by Giovanni Kosso (1435), presented to his
native town by Niccolo Maurnzzi, the celebrated condottiere. In the chapel
to the N. of the high-altar are the remains of St. Nicholas of Tolentino
(d. 1309) and two paintings of the late-Venetian school (16th cent.). An
adjoining room contains a wooden statue and the Renaissance tomb of
St. Nicholas and frescoes from the life of the saint by Lorenzo and Jacopo
da San Severino (1 Giottino). The adjoining cloisters date from the 13th
century. In the adjacent Piazza is the church of San Francesco (13th cent.),
with a fresco of 1470, representing the Madonna and Sant' Amicone di
Rambone healing the infirm. — The church at Belforte sul Chienti, 5 M. to
theS.W., contains a large altar-piece by Giov. Boccati of Camerino (1468).

The railway now quits the Cnienti and enters the valley of the Polenza.

— 35 M. San Severino ffiarche (781 ft. ; Alb. della Speranza), a town with
3227 inhab., arose from the ruins of the ancient Septempeda. The lower
town (Borgo) contain the New Cathedral, in the sacristy of which is a fine
Madonna, with donor, by Pinturicchio (1489). The church of San Lorenzo
stands on the site of an ancient temple. The Town Hall contains paintings
by Kiccol6 da Foligno (altar-piece of 1468) and others, besides inscriptions
and antiquities (fee 25 c). The Old Cathedral (San Severino) is in the
upper town (Castello), and is adorned with frescoes bylMetisalvid'Angeluzzo.

— 41 M. Gagliole.

From (42 M.) Castelraimondo (Alb. Rossi) a road leads to the S. to (6 M.)
Camerino (2148 ft. ; 5218 inhab.), the ancient Camerinum Umbrorum, once
the capital of the Umbrian Camertes, who during the Samnite wars allied
themselves with Rome against the Etruscans. It is the seat of a bishopric
(founded in 252) and of a university. The cathedral of San Sovino occupies
the site of a temple of Jupiter; in front of it is a bronze statue of Pope
Sixtus V., of 1587. The painter Carlo Maratta (1625-1713) was born here.

47 M. Matelica (1168 ft.; Alb. Mona, clean), a town with 2713 inhab.,
possessing pictures by Palmezzano (1501) and Eusebio di San Giorgio (1512)
in the church of San Francesco dei Zoccolanti, and other paintings in the
Pal. Piersanti. — 51>/2 M. Cerreto d"Esi; 54 M. Albacina (p. 126; change
carriages for Jesi and Ancona). — 59'/2 M. Fabriano, see p. 126.

15. From Ancona to Foligno (Orte, Rome).

80 M. Railway in 3s/4-5'/4 hrs. (fares 15 fr., 10 fr. 50, 6 fr. 75 c. ; ex-
Press 16 fr. 50, 11 fr. 55, 7 fr. 50 c). To Rome (183 M.) in 8-113/4 hrs.
(fares 34 fr. 25, 24 fr., 15 fr. 40 c. ; express 37 fr. 65, 26 fr. 35, 17 fr. 15 c).
Best views to the left.

To (5M.) Falconara Marittima, see p. 118. — Here the train
diverges to the S.W. into the valley of the Esino (Lat. Aesis), which
it crosses at (IO1/2 M.) Chiaravalle.

I71/2 M. Jesi (Alb. Sani1 Antonio, Speranza, both fair; Corona),
a town with 23,825 inhab., was the ancient Aesis, where the Emp.
Frederick II. was born on 26th Dec, 1194. The picturesque town-
■"alls, dating from the middle ages, are in good preservation. The

126 Route a

V2?li'ixii\:Ci\j.

Cathedral is dedicated to thn martyr St. Septiniius, the first bishop
of Jesi (308). The Palazzo Pubblico, now the Prefettura, bears the
town-arms -within an elaborate Renaissance border. The interior and
the Public Library contain works by Lorenzo Lotto.

Jesi was also the birthplace of Giov. Bait. Pergolese (b. 1710; d. 1736
at PozzuoU), the composer of the Stabat Mater ; and a neighbouring village
gave birth to the composer 0. Spontini (1778-1851).

The valley contracts, and the train crosses the river twice. 26 M.
Castelplanio. Beyond (30 1/2 M. J Serra San Quirico the line threads a
long tunnel through the Monte llosso and then traverses a ravine be-
tween lofty cliffs (part of the E. Apennine chain). — 39i/2 M. Al-
baeina ; to Porto Civitanova, see p. 125.

441/2 M. Fabriano (1066 ft.; LaCampana, R. 2, de'j. V/2,
D. 21/2 fr. inch wine), a prosperous town with 9586 inhab., noted
since the 14th cent, for its paper-manufactories, lies in a depression
between two heights, near the sites of the ancient Tuflcum and
Attidium. The Town Ball contains ancient inscriptions and a small
collection of pictures. The churches of San Niccolb, San Benedetto,
and Santa Lucia, and the private houses Casa Morichi and Casa
Fornari, contain pictures of the local school (see p. 61).

From Fabriano to Urbino, see R. 16 ; to Porta Civitanova, see pp. 125, 121

Beyond Fabriano the train skirts the brook Oiano , and pene-
trates the central Apennine chain by a tunnel iy4 M. long.

At (54y2 M.) Fossato di Vico (to Arezzo and Fossato, R. 8) we
enter the plain of the Chiaggio. To the left on the hill, Palazzolo ; to
the right, San Pellegrino ; farther on, to the left, Palazzo and San
Facondino.

58 M. Gualdo Tadino (1755 ft.), a small town with 4440 inhab.,
lies about 1 M. to the E. of the railway (cab 40 c.) , near the in-
significant ruins of the ancient Tadinum. In 552 Narses defeated
and slew the Ostrogothic king Totila here. In the Palazzo Comunale
are pictures by native artists, with a Pieta by Niccolo da Foligno
(1471). The Cathedral has a fine rose-window.

We gradually descend to (68 M.) Nocera Umbra (1797 ft.), an
episcopal town (5685 inhab.), on the site of the ancient Nuceria, a
city of the Umbri (2y2 M. from the station; omn.). The Cathedral
and the church of the Madernina contain a few fair paintings. Some
admirable frescoes of 1434 may be seen on the organ-screen of San
Francesco, and others of less importance (ca. 1500) in the nave and
choir. The Orfanotrdfio (Vescovado Antico) contains portraits of the
bishops of Nocera from the 1st cent, of our era (!), painted in 1659.
About 274 M. from the town are mineral springs, known since 1510.

On the slope of the Monte Pennino (5150 ft.), above the town, is a
prettily situated and much frequented Summer Hotel (1970ft.; pens. 8-10 fr.;
omn. at the station; open June-Sept.).

The train enters the narrow Vol Topina, crosses the brook several
times, traverses a tunnel, and descends by Ponte Centesimo to —
80 M. Foligno. Thence to Rome, see pp. 77-86 and 94-97.

127
16. From Fabriano to Urbino.

50 M. Railway in 3'/2 hrs. (fares 9 fr. 33, 6 fr. 50, 4 fr. 20 c. ; two trains
daily; do express).

Fabriano, see p. 126. — 2 1/2 M. Melano (1135 ft.); 8 M. -San
Donalo Marche (1102 ft.). — IOV2 M. Sassoferralo-Arcevia (1017 ft.).
Sassoferrato (1266 ft.; Fata; Perliori), situated on the Scatino,
with 3142 inhab., possesses interesting ' churches and pictures.
Qiambattista Salvi, surnamed Sassoferrato, was born here in 1605;
he was especially noted for his Madonnas, and died at Rome in
1685. San Pietro, in the upper town, contains a Madonna by him.
In the vicinity are the ruins of the ancient Sentinum, where, in B. C. 295,
the great decisive battle took place between the Romans and the allied
Samnites, Gauls, Umbrians, and Etruscans, in which the consul Decius
heroically sacrificed himself. The Roman supremacy over the whole of
Italy was thus established. — About 6 M. to the N.E. of Sassoferrato
(diligence in 2 hrs-), on the road to Senigallia (p. 118) lies the little town
of Aicevia (2150 inhab.). The church of San Medardo contains a large
altar-piece by Luca Signorelli (1507: restored in 1890), a fine Baptism of
Christ and a Madonna with saints (1520), by the same master, and a terra-
cotta altar by Giovanni della Robbia (1513).

13 M. Monterosso Marche; 17V2 M- Bellisio Solfare, with sulphur-
mines; 20 M. Pergola (955 ft.); 23 M. Canneto Marche (1102 ft.). —
26 M. Frontone (1345 it.), in a high situation to the left.

A rough road leads from Frontone to the S.E. to (4 M.) Serra Sanf
Abbondio, and then ascends to the S.W., through the wooded gorge of the
Cesana, to (7'/2 M.) the Camaldulensian convent of Avellana, where tradition
avers that Dante found refuge after the death of Hi nry VII. We may
spend the night here, and next day ascend (6 hrs. ; guide 2-3 fr.) the Monte
Catria (5583 ft.), which is surmounted by a cross 60 ft. high, and com-
mands an extensive ''Panorama.

291/2 M. Acquaoiva Marche (1160 ft.). — 32 M. Cagli (830 ft.;
Alb. Roma, in the main street), a small town with 4628 inhab., on
the site of the ancient Cales or Calle. The church of San Domenico
contains a fresco (Madonna with saints), by Giovanni Santi (p. 128),
one of his most important works ; a Pieta with SS. Jerome and Bona-
ventura is also by him. San Francesco and SanV Angela Minore aUo
contain pictures. At the foot of the hill is a stream spanned by an
ancient bridge, constructed of huge blocks of rock. From Cagli to the
convent of Avellana (see above), 3'/2 hrs.; to Scheggia, see p. 117.
The train descends the valley of the Burano , which is also
followed, as far as (3572 M0 Acqualagna (698 ft.), by the road over
thejFurlo Pass (see p. 117). — 38 M. Pole-Piobbico (793 ft.).

421/2 M. Vrbania (780 ft.); the town, formerly named Castel
Durante and famous for its majolica, lies 4 M. to the N.W.
(diligence in 1 hr.). Adjacent is the secularized convent of Monte-
fiorentino, with two marble monuments by Francesco di Simone (ca.
1484) and a Madonna by Giov. Santi (1484).

We continue to follow the valley of the Metaurus to (46 M.)
Fermignano (994 ft.). — 50 M. Vrbino (1000 ft.); the town is 1 1/4 M.
from the station (picturesque road). Omnibus 60 c, luggage 15 <;. ;
one-horse carr. \ fr. 25, two-horse 2 fr.

128 Route *o. History.

TJrbino (1480 ft. ; Albergo d' Italia, Corso Garibaldi ; Cafe near
the Piazza, plain), the ancient Vrvinum Metaurense, the birthplace of
Raphael Santi (b. 1483; d. at Rome, 1520), lies on an abrupt hill,
surrounded by barren mountains. The town, with narrow, crooked
streets and 5000 inhab. , has an unimportant university, and merits
a visit for the sake of its monuments and associations.

In the 13th cent, the town came into the possession of the Montefeltro
family, and under Federigo Montefeltro (1444-82) and his son Quidobaldo
(1482-1508) attained to such prosperity as entirely to eclipse the neigh-
bouring courts of the Malatesta at Rimini and the Sforza at Pesaro.
Federigo Montefeltro, who distinguished himself as a condottiere in the feuds
of the 15th cent., married his daughter in 1474 to Giovanni della Rovere,
a nephew of Sixtus IV., and was in consequence created Duke of Urbino.
His court was regarded as a model among the princely courts of that period.
It was visited for shorter or longer periods by numerous scholars and ar-
tists , amongst whom the prince was preeminent for learning. His son,
Guidobaldo , in spite of ill health and other misfortunes , zealously fol-
lowed his example , with the able assistance of his beautiful and accom-
plished wife Elizabeta Gonzaga. A famous description of the court of Ur-
bino under Guidobaldo, depicting it as the most refined social school of
the day, is given by Count Baldassar Castiglione in his 'Cortigiano', the
ideal of a courtier. In 1497 Guidobaldo was expelled by Cesare Borgia,
the son of Alexander VI., after whose death, however, he returned to
Urbino in 1503. He died in 1508 and bequeathed his dominions to his
nephew Francesco Maria della Rovere, the favourite of Pope Julius II. In
1626 the duchy was incorporated with the States of the Church , when
Urban VIII. persuaded the last and childless Duke Francesco Maria II. to
abdicate.

Amongst the most distinguished Aktists employed at the court of Ur-
bino, during the zenith of its splendour under Federigo and Guidobaldo,
were Paolo Uccello, Piero della Francesco, and Melozzo da Forll. Even for-
eign painters, like Justus van Ghent (see p. 129), were attracted to the court.
The peculiar bond of union which existed here between the interests of
science and art is chiefly exhibited in the library pictures or ideal portraits
of scholars painted by Melozzo da Forli and others, which, however, have
been removed from Urbino together with the library. Timoteo Viti, or
della Vite, of Ferrara (1467-1523), the best pupil of Francesco Francia,
spent the greater part of his life in Urbino ; he was the first painter who
exercised an influence on Raphael, but at a later period he himself became
subject to that great master's magic spell. — The master, however, in
whom we are now specially interested is Giovanni Santi of Urbino
(ca. 1450-94), the father of Raphael, whose frescoes at Cagli (p. 127) and
Fano (p. 116) show considerable power and a keen sense of the graceful.
As Giovanni died when Raphael was in his 11th year, his son can hardly
have had the benefit of his instruction. After his father's death, Raphael
remained in Urbino till 1500, but under what tuition is unknown. Another
native of Urbino was Federigo Baroccio (1528-1612), some of whose works
are able, while others display the customary affectation of the post-Raphaelite
period. — During the Renaissance period, Urbino was one of the chief
centres of the majolica manufacture (comp. p. 57) owing to the excellent
potters' clay found in the neighbourhood.

In the centre of the town is the Mabket Place, or Piazza Otto
Settembre, where the Corso Garibaldi ends. — The Via Puccinotti
ascends hence to the right to the narrow Piazza Duca Federigo, with
the cathedral and the ducal palace. The fine Raphael Monument here
is by Luigi Belli (1897). The bronze statue of the painter stands
on a pedestal of marble, adorned with reliefs from his life ; below
are bronze figures of the Renaissance and the Genius of Art.

Ducal PalacH. UKB1N0. 16. Route. 129

The new Cathedral, erected in 1801 on the ruins of its prede-
cessor, contains some interesting pictures.

Interior. To the right of the entrance, St. Peter, a copy of the statue
in St. Peter's at Rome. In the 2nd chapel to the right: St. Sebastian by
Federigo Baroecio ; to the left of the high-altar, Last Sapper, also by Fed.
Baroccio. In the sacristy, next the right transept: SS. Martin and Thomas
a Becket, with a portrait of Duke Guidobaldo, the masterpiece of Timo-
teo Viti (1504); 'Scourging of Christ by Piero della Francesca, elaborately
executed in the miniature style (usually covered). — The Crypt (entered
from the right corner of the small piazza between the cathedral and the
palace) possesses a Pieta in marble by Giov. da Bologna.

The *Ducal Palace, erected by Luciano da Laurana of Dalmatia
in ca. 1460-82 by order of Federigo Montefeltro, is now used as a
'Residenza Governativa' and as an 'Istituto di Belle Arti", and con-
tains the archives. The requirement of strength, coupled with the
unevenness of the ground, has given rise to the irregularity of the
building, hut at the same time has enhanced its picturesqueness.
The palace was much admired by the contemporaries of the founder.
According to modern standards, however, its dimensions are not
grand, and even the court, the entrance to which is opposite the
cathedral, is pleasing rather than imposing. In the latter, to the
right, are mediaeval tombstones and a relief (Pieta) of the 14th cen-
tury. The staircase to the upper rooms is on the left, with a statue
of Duke Federigo, by Girol. Campagna (1606). The ornamentation
of the doors, windows, and chimney-pieces here and in the apart-
ments is by Ambrogio da Milano, etc. The corridors and rooms con-
tain a collection of inscriptions from Rome and the Umbrian muni-
cipia, early-Christian, mediaeval, and Renaissance sculptures, and
a picture-gallery. Open daily, 9-12 and 2-4 (in summer 2-6); fee 1 fr.

The Collection op Inscriptions was made by the epigraphist Fabretii.
— Scclptokes. In the corridors are 72 reliefs with representations of
engines of war (after Francesco di Giorgio), by Ambrogio da Milano (1474),
which formerly decorated the outside of the palace. Room I (Sala degli
Angeli). Five beautiful doors; frie/.e of dancing angels on the chimney-
piece, by Domenico Rosselli. Room II. Four marble chimney-pieces. Room III.
Two crucifixes ot the 13th century. Room IV. Tapestry worked in Urtiino
by masters from Flanders ; stucco-reliefs by Brandano; fine marble chimney-
piece. — We now return and enter the Chapel, in which is a plaster-cast
of Raphael's skull. The studio of Duke Federigo should be visited for the
sake of the intarsias, which formerly covered also the upper part of the
walls, and the fine ceiling. From the balcony a beautiful view of the
Apennines is obtained ; still better from the N. tower, to which . n interest-
ing winding staircase ascends. In the colonnade on the upper floor and
in the lower chapel are two reliefs by the so-called Master of the Marble
Madonnas (15th cent.). — The celebrated library collected by Federigo has
been removed to Rome (p. 365).

Piotcre O-allert. To the right: 38. Baroccio, Madonna, with saints;
"39. Titian, Resurrection, -i late work like the Last Supper fsee below);
Timoteo Viti (or Giov. Santi?), 40. St. Rochus, 41. Tobias and the Angel,
25. St. Sebastian; 23. Paolo t'ccello. Legend of the desecrated Host. Fine
chimney-piece. — 41. Tim. Viti, St. Stbistian; 42. Titian, Last Supper
(damaged). Giovanni Santi, 2. Madonna with SS. John the Baptist, Sebastian,
Jerome, and Frmcis, and the Bufti family (1489); IS. Piero della Fran-
cesca (?), Architectural piece ; *1. Justus van Ghent, Holy Communion, with
numerous portraits, including Duke Federigo and Caterino Zeno , the
Persian amhaaa^dpr (to the right of the table; injured; 1474); 60. Tim.

BAEDEKEB.^-f!;ptr?.l Tt?JyJ™?^tion. 9

130 Route 16. UKBIKD. Fortezza.

Viti, St. Apollonia ; Master of the Marble Madonnas, Bust of the youthful
St. John.

Opposite the palace rises an Obelisk, facing which is the church
of San Domenico, with a pleasing portal by Maso di Bartolomeo
(1449-51) and a terracotta relief of the Madonna, with four saints,
by Luca della Robbia (1449). — The street contracts; to the right is
the University, with armorial bearings over the door (161 students).

In the market-place (p. 128) is the loggia of San Francesco, a 14th
cent, church, with a handsome campanile. The portal of the chapel
to the right of the high-altar is by Costantino Trappola (15th cent.).

The Contrada Raffaello leads hence to the former Fortezza (see
below). Raphael was born at No. 278, on the left; the house now
belongs to the 'Reale Accademia Raffaello'.

The rooms are adorned with engravings from Raphael's pictures. In
one of the rooms is a fresco of the Madonna (removed from he court;
entirely repainted), by Giovanni Santi, possibly representing Magia Ciarla,
Raphael's mother (fee V2 fr.).

From the beginning of the Contrada Raffaello the Via Bramante
leads to the church of Santo Spirito, containing a Pieta and Descent
of the Holy Ghost, two good paintings by Luca Signorelli, originally
a church-banner (1494-95).

Returning to the market-place , and descending the Via Maz-
zini, we follow the Via della Posta Vecchia, the first side-street to
the right, and then the Via Barocci, the first street to the left, which
leads, past the church of San Giuseppe (containing a group of the
Nativity by Fed. Brandano), straight to the Oratorio di San Giovanni.
The walls of the oratory are covered with *Scenes from the history of
the Virgin and John the Baptist and a large Crucifixion, by Lorenzo
and Jacopo da San Severino (1416 ; restored). The ancient timber
roof should be noticed. — In the church of San Sebastiano is a
picture of St. Sebastian, by Giov. Santi.

The bastion of Pian del Monte, at the end of the Contrada
Raffaello, commands an extensive view. Passing through the adja-
cent gateway, we walk round the base of the Fortezza (now a prison
and not accessible) until we find ourselves (in 6 min.) opposite the
Ducal Palace. In front is the barren chain of the Apennines, in
which the abrupt Sassi di San Simone are specially conspicuous. The
peak of San Marino (p. 112) appears to the N.W.

About 1 31. to the E. of TJrbino are situated the conspicuous old
monastery and church of San Bernardino (ca. 14c0) with the new cemetery
of TJrbino. This spot commands a fine view of the town. The church con-
tains the tombs of the Dukes Federigo and Guidohaldo, with their busts.

Feom TJrbino to Fossombjione (p. 117), via Calrnazzo, IIV4 M., dili-
gence daily in 2 (returning in 3) hrs., fare 2 fr. 10 c; carriage 10 fr. The
'Corriere del Furlo' passes through Fossombrone at 10.30 a.m. and on its
way to Fano about 1.30 p.m. Travellers bound for Fano should visit the
(50 min.) Furlo Pass from Calmazzo. Carriage from TJrbino to Gubbio 40 fr.

SECOND SECTION.

E 0 M E.

Comp. also p. xxvii.

Preliminary Information 133

a. Hotels. Pensions. Private Apartments 133

b. Cafes. Confectioners Restaurants. Birrerie. Osterie ... 13 i

c. Post and Telegraph Offices. Carriages. Horses. Porters. . 138

d. Embassies and Consulates. Bankers. Physicians and Chemists.

Mck Nurses. Baths, etc 139

e. Studios. Art Associations. Art Dealers 141

f. Shops 141

g. Church Festivals. English Churches 1j4

h. Principal Libraries. Learned Institutions 146

i. Theatres. Conrerts. Sport. Popular Festivals. Street Scenes.

Garrison 147

j. Best Time for visiting Churches and Hours of Admission to

Public and Private Collections, Villas, etc 148

General Topographical Description 153

/. The Hills to the N. and E. : Pincio, Quirinal, Viminal,
and Esquiline lo5

a. Piazza del Popolo. Monte Pincio. Piazza di Spagna . 155

S. Maria del Popolo, 156. — Villa Medici, 159. — S. Trinita
de' Monti, 159. — Fontana Trevi, 161.

b. Via Sistina. Ludovisi Quarter. Quattro Fontane. Via

Venti Settembre 162

Fontana del Tritone, 162. — Palazzo Barberini, 163. —
Porta Pia, 165.

c. Piazza delle Terme. Via Nazionale. The Quirinal . . 166

Thermae of Diocletian, 166. — S. Maria degli Angeli.
Thermee Museum, 167. — Galleria d'Arte Moderna, 174.

d. From the Via Nazionale to S. Maria Maggiore and S.
Lorenzo fuori le Mura or the Porta Maggiore .... 179

S. Pudenziana, 179. — S. Maria Maggiore, 180. — Porta
S. Lorenzo, 183. — Minerva Medica, 185. — S. Croce in
Gerusalemme, 1S6.

e. From S. Maria Maggiore to the Forum Romanum . . 187

S. Prassede, 187. — S. Pietro in Vincoli, 188.

f. Villa Borghese. Villa di Papa Giulio 189

II. Rome on the Tiber (Left Bank) 197

a. The Corso and Adjacent Side Streets 197

S. Lorenzo in Lucina, 198. — Piazza di S. Silvestro, 199. —
Piazza Colonna. Temple of Neptune, 200. — Piazza di
Venezia, 201.

b. Museo Kirrheriano and Ethnographical and Prehistoric
Museum. Doria and Colonna Galleries 203

c. From the Piazza di Spagna to the Ponte S. Angelo . 212

ViaCondotti, 212. — Palazzo Borghese, 213— S.Agostino, 214.

d. From thePiazzaColonnapastthePantheon tothe Piazza
Navona (Circo Agonale) and the Ponte S. Angelo . . 215

Monte Citorio (Chamber of Deputies), 215. —Pantheon, 216.
— S. Maria sopra Minerva, 218. — University, 219. — Palazzo

"~9*

132

Madama (Senate). S.Lnigi de' Francesi. Piazza Navona, 2°0.

— S. Maria dell' Anima, 221. — S. Maria della Pace, 222.

e. From the Piazza Venezia to the PonteS. Angelo. Corso
Vittorio Emanuele 223

Gesii, 223. — S. Andrea della Valle, 224. — Palazzo Massimi,
225. — Cancelleria, ^26. — Chiesa Nuova, 227. — S. Gio-
vanni de' Fiorentini, 228.

f. Quarter to the S. of the Corso Vittorio Emanuele as

far as the Piazza Montanara. Isola Tiberina 228

Campo di Fiore, 22S. — Palazzo Farnese. Palazzo Kpada, 229.

— Fontana delle Tartarughe, 231. — Porticus of Octavia.
Theatre of Marcellus, 232. — I-ola Tiberina, 233.

III. The Southern Quarters (Ancient Rome) 234

a. The Capitol 234

S. Maria in Aracoeli, 235 — Palace of the Senators, 238. —
Palace of the Conservatory 239. — Capitoline Museum, 244.

— Tabularium, 2.9.

b. The Forum Romanum and the Colosseum 250

Temples of Vespasian and of Concordia, 253. — Basilica
Julia, 254. — Temple of Saturn. Rostra. Column of Phocas,
255. — Arch of Septimius Severus, 257. — Basilic ^imilia,

258. — Temple of Caesar. Temple of Castor and Pollux,

259. — S. Miiria Antiqua. 260. — Kegia, 261. — Atrium of
Vesta, 262. — Temple of Faustina, 263.— Basilica oi'Con-
staniine, 264. — Arch of Titus. Temple of Venus and
Roma, 265. — Colosseum, 236. — Arch of Constantine, 2(0.

c. Fora of the Emperors 271

Career Mamertinus, 271. — Accademia di S. Luca, 272.

d. The Palatine 275

e. Velabrum and Forum Boarium 282

Janus Qaadrifons, 282. — Cloaca Maxima. Piazza Bocca
della Verila. S. Maria in Cosmedin, 283.

f. The Aventine. Monte Testaccio. Pyramid of Cestius . 286

g. The Via Appia within the City 290

h. The Cslius (S. Gregorio Magno; Villa Mattei) . . . 294
i. S. Clemente. The Lateran 299

Lateran Museum: Antiques, 306; Christian Museum, 303;
Picture Gallery, 310.

IV. Quarters of the City on the Right Bank 312

a. Ponte S. Angelo. Castello S. Angelo. The Borgo . . 312

b. St. Peter's 319

c. The Vatican 329

Cappella Sistina, 331. — Raphael's Stanze and Logge, 335,
342. — Picture Gallery, 344. — Raphael's Tapestry, 34B.
— Appartamento Borgia, 347. — Antiquities: Mu«eo Pio-
Clementino, 349; Mn-seD-Chiaramonti, 357; Braccio Nuovo,
359. — Egyptian and Etruscan Museum, 360. — Library,
364. — Christian Museum. 366.

d. The Lungara (Villa Farnesina; Palazzo Corsini) . . . 368

e. Trastevere 373

Ponte Sisto. Ponte Garibaldi, 373. — S. Crisogono. S. Maria
in Trastevere, 374. — S. Cecilia in Trastevere, 3(5. — S.Pietro
in Mnntorio, 377. — Passeggiata M;irgherita. Villa Doria
Pamphili, 379.

133
Preliminary Information.

a. Hotels. Pensions. Private Apartments.

Arrival. At the Stazione Termini, or chief railway -station (Plan I,
II, 27; Restaurant, dej. 2-2'/2, D. 3>/2-5 fr.), hotel-omnibuses are in waiting,
for the use of which a charge of l-l'/z fr. is made in the bill. Cab to the town :
with one horse, for l-2pers., 1 fr., at night 1 fr. 20 c; with two horses,
for 1-4 pers., 2 fr., at night 2>/2 fr.; small articles of luggage free, each
small box 20 c, trunk 50 c. (comp. tariff in the Appx.). Porter (facchino)
25-60 c. — There is another station at Trastevere (PI. Ill, 11; p. 377), of
little importance, however, to tourists, except as the terminus of the line
from Viterbo (E. 11; electric tramway to the Piazza Venezia, see the Appen-
dix, p. 2, Mo. 9). — Police Office (Questura ): Via Santi Apostolil7(Pl. U, 18).
— Railway enquiry and ticket offices in the town: Corso Umberto Primo 218
(near the Piazza Colonnal and Corso Vittnrio Emanuele 43 ; Thos. Cook & Son,
Piazza di Spagna 2 and Piazza Esedra di Termini 54 (corner ofViaNazio-
nale); Compagnie Internationale des Wagons-lits, Piazza di San Silvestro 93.

Hotels (comp. p. xvii). — The first-class hotels are large and
comfortable establishments, with lifts, baths, central heating (in
many cases), etc., and are lighted by electricity. Prices are usually
raised at Easter. *Orond Hotel (PI. OH; I, 24, 27), Piazza delle
Terme, a large establishment belonging to a company and under
Swiss management, with a superior restaurant (p. 136), E. 7-15,
B. 2, dej. 5, D. 7, frequented by the English; — *Orand-H6tel du
Quirinal (PL Q; I, II, 27), Via Nazionale 7, a large hotel (Swiss
management), -with a small garden, R. from 6, B. 2. de'j. 4, D. 7,
pens. 13-20 fr.; *Bristol (PI. B; I, 24), Piazza Barberini 23, R.
from 6, B. li/2, dej- 4, D. 6, pens, from 16 fr., frequented by the
English; *Royal (PI. R; I, 26), Via Venti Settembre 31, in a sunny
situation, patronized by Americans; * Continental (PI. C; II, 27),
ViaCavour 1, opposite the station, R. from 7, B. iy2. dej. 4, D. 6,
pens. 13-16 fr.; *H6t. de Russie (PI. R; 1, 17), Via del Babuino 9,
near the Piazza del Popolo, with fine garden, R. from 5, B. iy2,
dej. 3^2, D- 5, pens, from 12 fr. , closed in summer ; Hot. d'Europe
it des lies Britanniques (PI. E; I, 21), Piazza Mignanelli 3, with
restaurant, R. from 6, B. li/2, de'j. 4, D. 6, pens, (except from Feb.
to April) from 12 fr. ; these two frequented by the English ; Londres
(PI. L; 1, 17), Piazza di Spagna 15, R. from 4, B. li/2, dej. 3'/2, D-
6 fr. ; Bertolinis Splendid Hotel (PL R; I, 18), Corso Umberto Primo
128, R. from 4, B. I1/2, de'j. 31/2, D- 5, board 8 fr., with bar and
restaurant, new.

Many of the following are also excellent establishments. — In
the high-lying new quarters on the Pincian Hill and the N. slope
of the Quirinal: Palace Hotel (PL Pa; I, 21), ViaVeneto, R. from 4,
B.2, de'j. 41/2, D. 6fr., new; *JSden(Pl. E; I, 20), ViaLudovisi 49,
in a sunny situation, near the Pincian Garden, R. from 4, B. IV2,
% 3l/4, D. 5, pens. 11-15 fr. ; *Sui$se (PL Su; I, 21), Via Veneto 2e.

Io4 Prelim, information. Kunua. Hotels.

R. from 7, B. 1%, de'j. 3i/o, D. 5, pens. 12-16 fr., closed in summer;
Molaro (PL M; I, 21), Via~Gregoriana 56 ; * Beau-Site (PI. B; I, 20),
Via Ludovisi 45, R. from 3i/2, B- llfa< dej. 31/2, D- 5, pens, from
10 fr. ; *Savoy, Via Ludovisi 15 (PL I, 20, 23), B. 1% dej. 3, D. 5,
pens. 91/2-141/2 fr-5 Primavera(Pl. P; I, 21), Via Veneto 2h, R.
31/2-5, B. 11/4, dej. 3, D. 5, pens. 8-10 fr., frequented by English
and American travellers; Germania (Pi. G; I, 23), Via Boncom-
pagni 21, R. 3-7, B. 1% de'j. 2l/2, D. 4, pens, from 10 fr., closed
in summer, good; Hotel du Sud (PI. S; I, 20), Via Lombardia 45,
R. 3-5, B. ll/2- de'j. 2V2, D. 4 (both incl. wine), pens. 7-10 fr., closed
in summer; Hassler (PI. H; I, 20), Piazza Trinita de' Monti, fre-
quented by Germans, R. 4-7, B. I1/.}, dej. 3, D. 41/21 pens, from
I21/2 fr., closed in summer; H6t. d'ltalie (PL J; I, 21, 24), Via
Quattro Fontane 12, with view of the Barberini Gardens, R. 5,
B. I1/2, de'j. 31/2, D. 5 (both incl. wine), pens. 10-12 fr., closed in
summer; Metropole, Via San NiccolS da Tolentino 76 (PL I, 24),
frequented by the English, R. from 4, B. II/4, dej. 3, D. 4, pens,
from 8 fr. ; Victoria (PL V; I, 21), Via Due Macelli 24, with garden,
R. 33/4, B. II/4, dej. 23/4, D. 4, pens. 8V2 fr-, well spoken of.

In the streets between the Piazza di Spagna and the Corso Um-
berto Primo : *Angleterre (PL A; I, 18), Via Bocca di Leone 14,
R. 41/2-6V2, B. I1/2, de'j. 3i/2, D. 5, pens, from 10 fr. ; *H6t.-Pens.
Anglo-Americain (PI. A A; I, 18), Via Frattina 128, R. 3V2„ B. 1,
dej. 21/2, D. 4, pens, from 8 fr. ; these two are chiefly patronized by
English and Americans. Hot. d'Allemagne (PI. Al; I, 18), Via Con-
dotti 88, R. 4-6, B. i% de'j. 3, D. 4, pens." 8-12 fr., good; Hot. des
Nations (PL N; 1, 18), Via Bocca di Leone 68, new, R. from 4, B. I1/4,
de'j. 31/2, D. 41/2 (incl. wine), pens. 9-15 fr. — To the N. of the
Piazza di Spagna: Fischers Hot.-Pens. Atibert(Pl. A; I, 17), Vicolo
Alibert, R. 21/2-31/2, B- 174. de'j. 2i/2, D. 4, pens. 7-9 fr. — To the
S. of the Piazza di Spagna: Hot. de Geneve (PI. G; I, 18), Via della
Vite 29, R. 2i/2-3i/2, B. I1/4, dej. 2'/2, D. 4, pens, from 8 fr.

Near the Main Railway Station (in addition to those of the first
class mentioned on p. 133): Hotel Michel (PI. M; I, 27), Via
Torino 98, R. 4-8, B. 1% de'j. 3, D. 5, pens. 8-15 fr., frequented
by Americans. — Second class: *Albergo Ligure (PI. Li; II, 27),
ViaCavonr23, R. 21/2-4V2. B. 3/4, dej. 2, D. 3, pens. 7-9 fr. ; Alb.
Genova (PI. Ge; II, 27), Via Principe Amedeo lie, R. 1%, de'j. 21/2,
D. 3 (both incl. wine), pens. 7-9 fr. ; Alb. Torino (PI. T; II, 27),
Via Principe Amedeo 8, R. from li/2. de'j. ll/2. D. 21/2 (both incl.
wine), pens, from 6 fr.; Alb. Lago Maggiore (PI. LM; II, 27), Via
Cavour 17; Alb. Massimo d'Azeglio e Novara (PL Ma; II, 27), Via
Oavour 18, opposite the last.

In the lower part of the Via Nazionale, on the Quirinal, but
nearer the Piazza Venezia, the Capitol, and the Fornm: *H6t. Laurati
(PL L; II, 20), Via Nazionale _154, R. 4-6, B. li/2, de'j. 3i/2, D. 5,

Pensions. uumxr. jrrelim. Information. loO

pens, from 9 fr. ; *H6t. de la Pau et Helvetia, Via Nazionale 104
(PI. II, 24), R. from 4, B. li/2, de'j. 3V2, D. 5, pens. 10-11 fr.,
well spoken of; Hot. Beau-Sejour (PI. B S; II, 20), Via Sant' Eufe-
mia 16, new, R. from 4, B. li/2, dej. 31/2, D. 5 (both incl. wine),
pens, from 10 fr. All these aie of the first class.

Nearer the centre of the city: * Minerva (PI. Ma; II, 18), beside
Santa Maria sopra Minerva, R. 4-7, B. l1^, dej. 372, D- 5) pens,
from 12 fr.; *Marini (PL M; I, 18), Via del Tritone 17, near the
Piazza Colonna, patronized by Americans, R. from 5, B. H/o. de'j.
372' D. 5i pens, from 10 fr. ; these two of the fl^t class. — *MVuno
(PI. M; II, 18), Via Colonna 22 and Piazza di Monte Citorio 11,
with restaurant, R. from 4, B. II/4, dej. 3, D. 4, pens, from 10 fr. ;
•National (PI. N; II, 18), Piazza di Monte Citorio 130, R. 31/2-4,
B. li/4, de'j. 272) D. 372i pens. 8-10 ft., these two patronized by
Italian deputies. — Campidoglio (PI. C; II, 17, 18), Corso Um-
berto Primo 291, at the corner of the Piazza Venezia, with restau-
rant, R. from 3, B. ll/4, dej. 3, D. 4, pens, from 8 ft.; Sennto (PI. S;
II, 18), Piazza della Rotonda 73, with lift and baths, a thoroughly
Italian house.

Hotels Garnis. Colonna (PI. C; I, 18), Via del Tritone 5, with
lift and baths, R. from 31/2, B. li/4 fr.; Central (PI. Ce; II, 18),
Via della Rosa 9; Cesari (PI. C; II, 18), Via di Pietra89, with lift,
baths, and restaurant, R. from 272) B. 1 fr. ; Santa Chiara (PI. Ch;
II, 18), Via Santa Chiara 18; Cavour (PI. C; II, 15). Via Santa
Chiara 5; Hot. d'Orient, Piizza Po!i 7 (PI. I, 21, 18), near the
Piazza Colonna, with lift, R. from 3, B. 1 fr. — The following are
under German management: Weser, Via Sistina 42, R. 3-4, B.
1 fr.; Hallier, Via Fontanella di Borghese 48, R. 3-5; Lademavn,
Via della Croce 34, R. 1-3 ft.; Carl Brilgner, Via Cavour 181,
E. 13/4-2i/2 ft-, B. 60 c; Friedrich, Via Capo le Case 56, R. from 2
(the last five are plain).

Pensions (comp. p. xviii). These are nearly all well spoken of.
The following are patronized chiefly by English and Americans:
Dawes-Rose, Via Sistina 57, 8-12 ft.; Villa Ludovisi, Via Emilia 18
(PI. I, 20, 23), with lift and garden, pens. 7-10 ft.; Hurdle- Lomi,
Via del Tritone 36 , with lift and baths, 7-9 ft. ; Miss Woodccck,
Via Montebello 72; Bethell, Via del Babuino 41, 8-12 ft.; Cargill,
Piazza delle Terme 47, 8-10 ft.; Pension des Anglais, Piazza Bar-
herini 5 (lift ; pens. 7-8 fr.) ; Evans, Via Poli 53, 4th floor, 6-672 ft.
— The following are more international : Frnncaise Lavigne, Via
Sistina 72, with lift, baths, and garden, from 9 fr. ; Canal-Suez, Via
Capo le Ca-e 75 ; Spillmann, Via Mario dei Fiori 21, 6-7 ft. ; Union ,
Piazza di Monte Citorio 121, with lift, 7-8 ft. ; Pecori, Via del Qui-
rinale 43, with baths, 7-8 fr. ; Bosada, Via Aurora 43, 8 fr. ; Co.<-
mopolis (Mad. L. Toeplitz), Via Venti Settembre 40, with baths,
8-12 ft.; Martha Tea, Via Sicilia 42, 2nd floor, 6-7 fr. ; Pirri, Via
SanNiccolo daTolentino 78, 1st floor, 8-9 ft.; Or.nni, ViaVeneto 51,

136 Prelim. Cafes.

third floor, 6-7 fr. ; Varlet, Via Marche 17, 5-6 fr. ; Qhedini, Via delle
Muratte 78, second floor, 5-7 fr. ; Lucarini, Via Gregoriana 54, 6 fr. —
The pension kept by the Suore della Santa Croce (Swiss nuns), Via
San Basilio 8, Casa San Giu-eppe, 7-8 fr., is highly spoken of.

The following are largely patronized by Germans : Quintana, Via Venti
Settenjbre 5S (PI. I, 26), with lift and baths, from 8 fr.; Boos, Via del
Quirinale 43 and Via Nazionale 181 (PI. II, 21, 2U), with batbs, 6-8 fr.;
Castellani- Stelzer, Via Sistina 19 (PI. I, 21), with bsths, 8-12 fr. ; Kwser,
Via Sallustiana 38, 7-9 fr. ; Sehtnidt-JSckstein, Oorso Umberto Primo 91, 6 fr. ;
Lehmann, Via Frattina 7, 6-7 fr.

Private Apartments (comp. p. xviii). The best are situated in
the old strangers' quarter (Pi. I, 17, 18, 21), bounded by the Corso
Umberto Primo, the Via del Tritone, and the Via Si=tina, especially
in the Piazza di Spagna and its immed ate neighbourhood, in the
Via Nazionale (PI. II 24), Via Venti Settembre (PI. I, 24, 27, 26),
and in the high -lying Ludovisi quarter (p. 155; PI. I, 20, 23).
Sunny apartments may be obtained in the Forum of Trajan and the
adjoining streets.

Kent of two well-furnished rooms in a good locality 100 250 fr., one
room 50-80 fr. per month; for a suite of 3-5 rooms 300-500 fr. and even
1000 fr (e.g. in the Via Sistina or Via Gregoriana). Rooms to let are in-
dicated by notices and placards ; but, as these are seldom removed when the
rooms are engaged, the traveller must be prepared for a number of fruitless
enquiries. — House-agents: Toil , Piazza di Spagna 54; Impresa AUoggio,
Via Qnattro Fontane 11, — Firewood is kept stored in many houses (basket
about 2'/2 fr.); it may be bought cheaper (20 fr. per 'passo', delivered free),
at Rottfs, Via Monte Brianzo 33; Societit di Consumo , outside the Porta
Salaria; and other large wood-stores.

b. Cafes. Confectioners. Eestaurants. Birrerie. Osterie.

Cafes. *Nazionale, usually called Caffe Aragno (after the pro-
prietor), Corso Umberto Primo 179, at the corner of the Via delle
Convertite (cold luncheon only; ladies' room, with entrance at
No. 183); *Roma, Corso L'mberto Primo 426 (excellent tea and
coffee at these two) ; Ramaztotti, Corso Umberto Primo 282; Colonna,
Piazza Colonna; Gilli fy Betzola, Via Nazionale 47; Santa Chiara,
Via Santa Chiara, adjoining the Piazza Minerva; Caprettari. Piazza
Caprettari ; Caffe Greco, Via Condotti 86, frequented by the English
(luncheon and afternoon tea); Castellino, Via Nazionale 134.

Confectioners. lionzi fy Singer, corner of the Via Corso Um-
berto Primo (No. 349) and the Piazza Colonna; Viano, Corso Um-
berto Primo 96 ; Pesoli, Via del Tritone 56; RamazzoW, Via Frat-
tina 76, Corso Umberto Primo 404, and Via Nazionale 195 ; Strachan,
Via Condotti 20; Voarini, Via Muratte 14; Latour , Piazza Santi
Apostoli 67. — Tea Kooms: Piazza di Spagna 23; Via Capo le
Case 24 (British Stores); Via Condotti 20; Charitas, Corso Umberto
Primo 5 (profit? of the last devoted to charitable purposes).

Eestaurants (comp. p. xix). The following are of the highest
class, with corresi onding charges, and firstrate chefs: *Grand Hotel
(p. 133; non-residents admitted to table d'hotu at separate tables),

Restaurant*. t-relim. Information. 137

and the *Quirinale (p. 133). — Next in point of excellence come
the *Roma and Colonna Cafes (p. 136) and the Restaurant San
Carlo, Corso Umberto Primo 120, at the corner of the Via delle
Carrozze, -where the cuisine is partly Italian, partly French.

Second class (Trattorie), in the strangers' quarter (p. 155): Cor-
radetti, Via della Croce 81 ; Berardi, Via della Croce 75 (closed in
summer); Ranieri, Via Mario dei Fiori 26 (closed in summer);
Ristorante Umberto, Via della Mercede 48; Flora, Via Sistina 147;
Bordoni, Via delle Tre Cannelle 5, near the Teatro Nazionale;
Albertini, Via Nazionale 64 (N. Italian wines); Ristorante delV Es-
fOihione, Via Nazionale 213; Cardinali, Via Nazionale 246 , near
the Piazza delle Terme; Reyina, Via Ajrostino Depreti< 89 ; Massimo
(f Axeylio, ViaCavourl4; Benedetti, Piazza delle Terme; Railicay
Restaurant, see p. 133. — To the "W. of the Piazza Oolonna (PI. II,
18): Hotel Milano (p. 135); Fagiano, Piazza Colonna, at the corner
of the Via Colonna; Le Ventte, Via di Campo Marzio 69, -with
garden (Venetian cuisinp), to the N.W. of the Piazza Colonna, very
fair; Bucci (fish and 'zuppa alia Marmara'), Piazza delle Coppelle 54 ;
Nazionale Tre Re, Via del Seminario 109-112 and Via de' Pastini
120, moderate, much frequented; Rosetta, Via Giustiniani 22 and
Vicolo della Kosetta 1 , nearly opposite the Pantheon ; Jacobini,
Piazza di Pietra 64. — Unpretending: Passetto, Piazza Tor San-
guigna 17, with a second entrance at Circo Agonale 52; FiorelU,
Via delle Colonnette 4, to the W. of the Corso Umberto Primo, and
N. of San Carlo al Corso ; Restaurant Cosmopolitain, Vicolo del Colon-
nato 2, near the Portone di Bronzo, convenient for visitors to the
Vatican.

Birrerie. Pilsner Vrquell fy Weihenstephan (Pilsen beer and cold
Viands), Piazza Santi Apostoli 52 ; Regina (Pilsen beer), Via Ag-
ostino Depretis 89; Bavaria (Munich beer; restaurant), Corso Um-
berto P rimo 393, dej. 1 1/2, D- %lh fr- 5 Saverio Albrecht (Munich beer ;
no hot dishes), Via San Giuseppe a Capo le Case 23, to the S. of the
Piazza diSpagna; Peroni (Ital. beer), Via del Cardello 15; Anglo-
American Bar (p. 138). — Vienna or Munich beer is also sold at
most of the better cafe's.

Tuscan Wine Shops (comp. p. xxi). Fiaschetteria del Parlamento,
Via della Missione 4; Trattoria la Toscana , Piazza Colonna 31;
Maroni, Piazza San Lorenzo in Lucina 33; Fiaschetteria Fiorentina,
Via Bocca di Leone 4. Good restaurants at all these

Provision Dealers, etc. Meals are supplied to private houses by all the
tratturie. — Mention may be made also of the Rosticcekie, where freshly
cooked meat and poultry may be bought by the pound for dinner or supper:
Canepa (with small restaurant), Via Venti Settembre, entrance in the Via
Pastrengo; Fraschetti. Via Venezia 19; Poletti, Via di Tor Argentina 32a;
Via del Tritone 99; Via Principe Amedeo 74, etc. — English and Viennese
Bakers: Colalucci, Via del Ba,buinc>94; Donati (biscuits), Via Piincipe Um-
berto 145; Lais, Via della Croce 48; Perego, Via N.zionale 115; Valan,
Via del Babnino KYJ and Via Condotti 79a; Gioggi, Via San Claudio 72;
union Italo-Hollandaise, Via San Niccolo da TVlcntino 32, Via Nazionale 127,
and Corso Umberto Primo 318. — Vacchekie (dairies; fresh milk, cream,

loo Prelim, .in/ur'ntiuctm. iwiTio. Post Office.

butter, and eg«s dailv) : Via Sistina 104 ; Via delle Muratte 81 ; Via del
Tritone 151; Via Capo le Ca<e 7; Via Frattina 101; Via del Babuino 41a;
Piazza Sant' Ignazio 126 (sterilized milk). — Gkocers : Ponli <fc Cie, Via
Marco Mingbetti 23-29; Casoni, Piazza di Spagna 32; Castrali, Piazza
Trevi SO; Paventi , Piazza di Spagna 46 and Via Nazionale 20; Notegen,
Via Due Macelli 90; British Stores, Via C ipe le Case 21 (English specialties);
Achino, Piazza di Monte Citorio 115. — Preserved Meats, etc.: Albertini,
Via Nazionale 65; Dagntno, Via del Tritone 54-56, Corso Uniberto Primo
295, and Piazza del Pantheon 73 ; Benzoni, Via Maddalena 48. — Fruit
Shops: Posidoro, Via del Tritone 179; Melano, Via Agostino Depretis 55.

Osterie (wine-shops, comp. p. xxi). L. de Angelis, Piazza San
Claudio 93; Barile, Via del Pozzetto, near the Piazza San Silvestro
(post-office]; the Osterie, Vicolo del Vaccaro 1, at the N. end of the
Piazza Santi Apostoli (Monteflascone, p. 97, Est! Est! 70c. per
flaschetto), Via Palombella 2, Piazza Trevi 95 ; Castelio di Costan-
tino (PI. Ill, 19; see p. 290, *View), with restaurant, Via Santa
Prisca 7. There are also favourite Osterie outside the Porta Pia
(p. 388) and the other gates, and by the Ponte Molle (p. 383) ; comp.
also p. 150.

Foreign wines are sold at the restaurants (p. 136), and by Burnel <fc
Guichard Ain4, Via Frattina 115 ; British Stores, Via Capo le Case 24 ; Luchese,
Via delle Convertite 21; Buton, Piazza Trevi 87; Vannisanti, Via Poli 50;
Jacobini, Piazza di Pit- tra 64. Also by the Liqdokisti : Gillario, Corso Um-
berto Primo 370c, Piazza Oolonna; Canavera, Via della Maddalena 17-19;
Attili, Via del Tritone 88 (open till 2 a.m.); Anglo-American Bar, Corso
Umberto Primo 32S. — Liqueurs, wines, etc. at the Automatic Bars in
many of the streets (10-15 c. per glass). — Mineral Waters may be ob-
tained from Chiodini, Corso Umberto Primo 2(1; Manzoni, Via di Pietra 90;
Belletti, Via San Claudio 58, and the Societal Farmaceutica Romana, Via degli
Astalli 18.

Tobacco (comp. p. xxi) at the Spaccio Normale or depot of the
Begia del Tabacchi, corner of the Corso Umberto Primo and Piazza
Sciarra; foreign cigars from 25 c. ; English tobacco 4 fr. per 741b.

c. Post and Telegraph Offices. Carriages. Saddle Horses.
Cycles. Porters.

Post Office (comp. p. xxiii), Piazza San Silvestro (PI. I, 18;
p. 199; also entered from the Via della Vite), open from 8 a.m. to
9.30 p.m., Poste Eestante letters ('ferma in posta') are delivered at
several windows for the different initials under the arcades in the
court, on the right. At the entrance (on the right) is a writing-
room. Parcels are delivered at Via della Vite 37 (9-4). Branch
Offices: at the Hotel Continental, opposite the Railway Station (open
till 10 p.m. ; the letter-boxes at the rail, station, cor. of the Viale
Principessa Margherita, are cleared V4 hr. before the departure of
the principal express trains), Via due Macelli 70 (Elefante & Lattes),
Piazza Barberini 28, Via Venti Settembre 123 (War Ministry, to
the right), Corso Vittorio Emannele 203, Via Cavour 361, Piazza
Rusticucci 35, Via del Babuino 49, Via Ludovisi 29, etc. (open 8-8).
— The letter-boxes for city-letters are painted green, the others
being red.

Bankers. "KOTTE. frelim. Information. 139

Telegraph Office, open day and night, in the General Post Office
building, Piazza San Silvestro (PI. I, 18; p. 199). Branch Offices:
Piazza Barberini 28, Piazza Rusticucoi 35, "Via Venti Settembre 123
(8-8); also at the railway station (open 8-8).

Omnibuses, Tramways, and Cabs, see Appendix.

Carriage Hirers. Belli, Via Margutta 29 ; Ciocca, Piazza San Claudio 95.
Piicitetti, Via Sicilia 154; De Gasperii, Piazza dei Cappuccini 11; Palombi,
Via Bocca di Leone 42; Jacchini, Via Belsiana 101. Charges vary according
to the season, but the average may lie placed at 30 fr. a day. The best
carriages are obtained at the larger hotels, where, however, the charge is
sometimes as high as 50 fr. a day. Gratuity to the coachman extra. —
Saddle Horses. Vine. cTAwjelo & Cia., Viale C-istro Pretorio 92a; Jarretl,
Piazza del Popolo 3; Pieretti, Palazzo Rospigliosi fp. 174); Francesangeli
& Fennini, by the main entrance to the Villa Borghese 9. Charge about
10 fr. for half-a-day; ostler's fee 1 fr.

Bicycles fcomp. pp. xvi, 147), with which many pleasant trips may be
made in the Campagna (e.g. to Ostiu), may be hired at Via Quattro Kon-
taDell4, Corso Vittorio Emanuele 2B0, Piazza del Popolo 1, and other large
cycling shops. Lessons are given on the cycle tracks (pista) at the Velo-
dromo Roma, Via Isonzo (HI. I, 25). Owners < f bicycles muit prucure a
licence (Tistera, 12 fr.) at the Oue-tura, Via di Mcnte Tarpeo 38.

Porters (Fattorini or Facchini Pubblici). The best are those of the
Impresa Romana, Vicolo Sciarra 60, with the name on their caps and a
brass number on their coats. Porter with letter or luggage under 331bs.,
25-75 c. according to the distance.

d. Embassies and Consulates. Bankers. Physicians and Chemists.
Sick Nurses. Baths, etc.

Embassies and Consulates. There are two classes of diplomatic,
agents at Rome, those accredited to the Italian government, and
those accredited to the Papal court, Great Britain and the United
States being, however, the only great powers with no representatives
at the Vatican. British Embassy, Sir Francis Bertie, Via Venti Set-
tembre, near Porta Pia; American Embassy, Geo. V. L. Meyer,
Piazza San Bernardo 16 (office-hours 10-1). — British Consulate:
C. Ceccarelli- Morgan, consul, Piazza San Claudio 96. American Con-
sulate: Hector de Castro, consul-general, Piazza San Bernardo 16;
vice-consul general, Chas. M. Wood.

Bankers. English: Thos. Cook $ Son, Piazza di Spagna lb;
Stlazti ft Reali (successors of Maquay, Hooker, ft Co), Piazza di
Spagna 20; Boeder Franz ft Figli, Via Condotti 20; French, Lemon,
ft Co., Piazza di Spagna 49; Ploivdenft Co., Piazza Santi Apostoli 53.
— Italian: Banca d' Italia, Via Nazionale; Banca Commercial
ltaliana, Via del Plebisoito 112; Credito Itaiiano , Piazza Santi
Apostoli 49 (agencies : Piazza delle Terme 70 and Corso TJmberto
Primo 47). — German : NaH-Kolb ft Schumacher, Palazzo IMnrig-
noli, Corso Umberto Primo (entrance Via San Claudio 87; PI. I, 18);
Schmitt ft Co., Via dell a Vite 7; Norrenberg ft Co.. Pal. Chigi, Piazza
Colonna 370. — Money Changers in the Corso Umberto Primo,
Via CondotH, at the Pantheon, etc.

•Physicians. Balduin (American), Via Gregoriana 25; Thomson-Bonar,
Via del Babuino 114, at the corner of the Piazza di Spagna; William Bull

140 Prelim, hi^™™.,™ i.~^.,. Physicians.

(phys. to the American Embassy), Villino de la Penne, Via Veneto ; Burton-
Brown (phys. to the Brit'sh Embassy, Via Venti Setterobre3; Eyre, Piazza
di Spagna 31;' Fenwick, Via Sisiina 42: Sandion Brock. Viz Veneto B. —
German: Bawm (speaks English), Via Quattr.i Fontane 14 (for women and
chidren); Bretschnei'ler, Via Condotti 80; Erhardt, Piazza di Spagna 26;
Flac/i, Via Venti Settembre 8; Von Flei<chl (<peaks English), Piazza Kon-
danini 33; Janssen . Via Sistina 48 (at Kissingen in summer); Ohle, Via
Venti S.ttembre 4; Wild. Via Quattro Fontane li7; De Soto, Via del
Babnino 11 J. — Italian : Bac-elli (consulting physician), Pia<za Cimvltelli 2;
O. Campanella (speaks English). Piazza Barberini 51; Selvatico Estense (spe-
cialist in m rvous and mental diseases; speaks Englisn), Piazza Porta
Pia 116; Montechiari, Piazza della Pilotta la; Montesano (for skin-diseases),
Cor o Umberto Primo 93; Nona, Via Nazionale 237 ; C. Rossi upeaks French
and English), Via Palermo 36; Taussip (physician to the .-anto Spiriio Hos-
pital, p. 317), Via della Croce 81. — Homc&opaths: Held (Swiss), Via Pozzo
delle Cornacchie 3; Liberali (Italian), Coiso Vitt. Emanuele 101. — Soa-
geons Bompiani, Via Torino 106 ; Curatulo, Vicolo San Niccolo da T len-
tino lb (for women I; Durante, Via Garibaldi; Mazzoni, Via Condotti 9;
Poitemsly, Via Nazionale 114. — Occlists : Businelli, Corso Vitt. Emanuele
252; Parisotti, Via Arenula 92; Scellingo, Via Belsiana 1. — Aobists: Egidi,
Via di Pietra 70; Ferreri, Via Cavour 71.

Dentists. Charges are apt to be rather high, so that a previous under-
standing is desirable. Visitors are waned against practitioners styling
themselves 'Amer can dentists' without warrant. — Chamberlain. Via del
Babumo 114; Fenchell & Curtis, Piazza di Spagna 93, 1st floor; Webb, Via
Nazionale 87 (all Americans); Martin, Via Piefetti 12; Mrs. Sle'din (Swiss),
Via Tomacelli (entrance Vi i del Leoncino 32, 1st floor); Piergili - Lorentz,
Via Sistina 15; Mrs. Baum (Ger. American), Via Quattro Fontane 14.

Chemists. Evans it Co., Via Condotti 61-66, patronised by the British
and Amerl an embassies; Roberts & Co., Piazza di San Lorenzo inLucina36;
Baker & Co., Pia'za di Spagna 42 and Piazza delle Trine t'2; Wall, Via
San Niccolo da Toleniino 1; Borioni. Via del Babnino 98; Garneri.Via del
Gambero 39; Farmacia del Quirinale, Via del Quirinale 44; Reale, Via
Torino 140; Berretti, Via Frattina 117 and Vii Boc< a di Leone 92, etc. —
Homoeopathic Chkmist: AlleoH, Via Frattina 8. — Sdrgical Instruments
and Bandages: Immelen, Via Frattina 134; Berretti, see above.

Sick Nurses may be obtained on application to the English Blue Sisters
(Piccola Compagnia di Maria), Via Castelfidardo 45 (no fixed charge); or
to Miss Watson's Trained Nurses, Via Palestro 42. — The Anglo- American
Nursing Home, Via Nomentai a 265. established and managed by a number
of English and Ameiiiau residents in Hume, has accommodation for eight
patienis (two free), and also supplies sick nurses for all parts of Italy.

Baths (li/4-2 fr.; fee 15-20 c.) at the hotels; also at the "Istiluto Kines-
iterapico, Via Plinio (well-appointed; swimming-bath in the I'ompeian style,
etc.), and at Corso Umberto Primo 151, Via del Babuino 96, Via Volturno 37,
Via Venezia 9a. — River Baths (in summer only) at the Ponte Molle. —
Hydropathic Establishment, Via Crociferi 44.

Hairdressers (with ladies' rooms): Pasquali, Via Condotti 11; Cervoni,
Via Frattina 53: Alegretti, Via Nazionale 134; Ladies'1 Toilet Co. (for ladies
only), Corso Umbcro Primo 461. — Perfumers: Corso I'mtierto Primo 296
and 39U; Brugia, 344; Al Piccolo Eniporio, Piazza San Lorenzo in Lucina 5.

Liedx d'Aisance (10 c.) : Via Nazionale, beside the Galleria d'Arte Mo-
derna (PI. II, 24); Vicolo dello Sdrucciolo, near the Piazza Colonna (PI. I,
18l; Via dei Pianellari, adjoining the church of Sant' Agostino (p. 214);
Via Belsiana 22 (PI. 1, 18); Vicolo del Mancino, adjoining the Piazza
Venezia (PI. II, 17; 15 c); Via del Govern" Vecchio (PI. II, 12); Passeg-
giata di Eipetta (PI. I, 14); in the colonnade of the Piazza of St. Peter,
on the side next the Porta Angelica (PI. I, 6); outside the Porta del Popolo,
to the left; on the Pincio (PI. I, 16); Via della Cuccagna, to the S. of the
Piaz/a Navona (PI. II, 15).

Studio*. ROTrarr Prelim. Information. 141

e. Studios. Art Associations. Art Dealers.

Studios. Painters: Aerni (Swis«), Via San Niccolo da Tolentino 13;
Barhudo (->pan.), Via del Babuino 39; Josl Benlhure (Span.), Director of
She Spanish Academy (p. 377); Boesch, Via Margutta 33; M. Boedker,
Via Margutta 53 b; Bompiani, Corso Umberto Primo 504; F. Brandt,
BdhVria Suiarra; Brioschi, Pil>zzo Venezia; Cabianca , Via Gaeta 26;
Cnrl'indi (wate -colours), If. Coleman (water-colours), both. Via Margutta 33;
Cipriani, Via Margutta 48; Corelii, Via F aminia 98; H. Corrodi , Via
degli Incurabili 8; Fchena (Span.), Via Mar utta 33; Galkgos (Span.),
Via Margutta 54; Gieiner, Via San C'lau io 8; Gutscher, Vioolo San Niccolo
da Tolentino 20; Hiremy, Via San Alartino 9; ifi*t Biggins, Via Porta
Pinciana 8; Joris, Via i-lam;nia 6o; Kbnig, Via Margutta f.3b; Levi, Via
Margutta 35; Maccori, Piazza Salb'stiu; Modiglinni, Via Margutta 49;
Uolinari, Via del Babuino 135; MuHoz (Span.), Via Margutta 51; Nerly,
Piazza San Silvcstro 74: Noether, Via San Niccolo da Tolentino 72; Petiti,
Via Margutta 53b; Pfannschmidt, Villa Strohl Fern (PI. I, 16); Poperl,
Villa out-ode Por'a del Popolo; Helene Rvh'er, Via Avignonesi 70; Roeder,
Via. Margutta 51a; Roesler-Franz, Piazza San ClaudiO 96; Moss (Nor eg;an;
pastelsi. Via Capo le Case 6S; Salinas, Via Margutta 51; G. A. Sartorio,
Via Fausta 4; Sciuti, Via ai Villini, outside ihe Porta Pia; L Seitz, Via
dell' C oce 2; Sena (Spin.), Vi i del Babuino 56; Franc. Sindi i- Stuart,
Via Flaminia 45; Svedomsky (RuS".>, Via Margutta 33; C. 'liratelli, Via
Margutta 33; Ramon Tusquets (-<pan.) Va Fausta 8; Vedder, Via Capo
le Case 8; Weingdrtner, Via Jlargutia o3b; Zielke, Vi > Marg'fta 42.

Sculptors: Bislolfi, Lungotevere Mellini 25; Brandenburg, Via Mar-
gntta 116; S. Cauer, Via Margutta 54; Dauach, Via .-an (iiacomo 18
Ezechiel, Piazza delle Terme 18; Ferrari, Via Augusto Valenziani 10
Qerhardt. Passeggiata di Ripetta33; Qerth, Via San Niccolo daTolent no 16
Olycemtein, Lungotevere Mtllini 44, Via San Basilio 16; R. S. Greenough
(American), Piazza San Bernardo 10i; Guglietmi. Via Babuino 155:
Ouillaume, director of the French Academy (p. 1591; Hasselriis (Pane)
Vicolo ^an Niccolo da Tolentino 8 ; Ierace, Piazza dell' Esquilino 20; Kraus..
Lungotevere Mi'llini 31; Monteverde, Piazza del)'' Indipenden/.a 8; Pander
(Dutch), Via Nomentana 143: H. St. Lerche, Via Fausta 4; Schulz, Pass' g-
g'ata (liEipetta 33; F. Schulze, Palazzo Barberini ; Seeboeck, Via Margutta 118;
/. Simmons (Jnwr.l, Via San Ni colo da Tolentino 72; Stadelhofer, Via Mar-
gu'ta51a; O. Spalmach ViaToscana40; Summers (English), Vi.. Ma-gutta53a;
Trabarchi, Via Flaminia 5t5 ; Volkmann, Viale AU.eroni, ouMde Porte Pia;
Weirich, Via del Plebiscite 118; Mmenes, Via Nomentana 32.

International Association of Artists, Via .Margutta 53. — British
Academy of Fine Arts, Via Margutta 53b. — Amekican School of Art,
Via Lombardia (p. 163).

Art Dealers. Sociela Artistica Cooperativa, Via del Babuino 139 a;
JMIri, Via Condotti 7 (these chiefly for pictures); Andreoni, Piazza del
Popolo 17; Moratilla e Berelti, Via del Babuino 59 (marble sculptures at
both these); Alex. Irnbert Via Condotti61a; G. Sangiorgi, Palazzo Horghese
(p. 213 ; auction-sales.) ; Conisieri, ViaDue Macelli 86 ; Msini, Via del Babuino 63
(original bronzes).

Artists' Materials. Juliana, Giosi. Via del Babuino 147 and 150;
Zecca, Via Margutta 53a and Via Sistina 135. — Stationers. Ricci, Via del
Tritone 12; Calzone, Corso Ut. berto Primo (entrance Via Lata); Zampini, Via
Frattina50; Pistolesi,Via. dell1 Archetto 26; Villa, Corso Umberto Primo 332.
Works of Art, both ancient and modern, are liable to government
inspection on exportation (office in the Museum in Diocletian's Thermael.
— Goods Agents: C. Stein, C. Petersen. Piazza di Spagna 36 and 26;
Roesler- Franz & Figli, Via Condotti 28; Fratelli Gondraud, Corso Umberto
Primo 372. — Packers ('Incassatori') : Ferroni, Via Ripetta 224 ; see also
Cabinet Makers, p. 143.

f. Shops.

Antiquities, Ornaments, etc. — Antiquities: A. Castellani , Piazza di
Trevi 86 (see p. 134); Innocenti, Via del Babuino 78; Jandolo, Via del

14<S Prelim, information. kumjs. Shops.

Babuino 92; Sangiorgi, see above; Segre, Piazza di Spagna 92; Simonetti,
Via Vittoria Colonna 11; De Segni, Via Condotti 9 a.

Cameos & Gems: Pianella, Via de' Cappuccini 10 (1st floor); Publio di
Felici, Piazza di Spagna 98; Tombini, Via Condotti 2 ; Ciapponi, Via Sistina
129; Lanzi, Via Sistina 10.

Casts: Marsili, Via Frattina 16; Malpieri, Corso Umberto Primo 54,

Copies of Ancient Ekonzes and Marbles: Boschetti, Via Condotti 74;
Rohrich, Via Due Maeelli 62; Nelli, Via del Babuino 110; Rainaldi, Via
del Babuino 82 & 130; Morelli <Sc Rinaldi, Via del Babuino 132.

Copies of Renaissance Sculpture in Tekbacotta : The Siena Manu-
factory, Via del Babuino 60.

Coral: Balzano, Corso Umberto Primo 247; Vzzo, Via Condotti 91.

Furniture (carved; see also Upholsterers, p. 143): Berardi, Via Ba-
buino 156; Sestieri, Via Fontanella di Borghese 20; Mora, Corso Umberto
Primo 419 ; also at Via delle Tie Pile 6, and Piazza Aracceli 24. — Tapestry
(ancient and modern) : Eroli, Via del Babuino 150.

Goldsmiths : Castellani , Piazza di Trevi 86 , who also possesses an
interesting collection of ancient golden ornaments, and executes imitations
from Greek, Etruscan, and Byzantine models; Confalonieri, Via Fontanella
di Borghese 52 ; Marchesini Slice, corner of the Corso Umberto Primo and Via
Condotti; Boni, Piazza San Carlo al Corso; Negri, Fasoli, Flaischel, Piazza
di Spagna 60. 95, and 91 ; Freschi, Via Condotti 56 ; Cagli, Corso Umberto
Primo 410; Calm, Via Sistina 16 (silver ornaments after amient patterns).

Majolica Ware: Cantagalli, Via Due Maeelli 60; Ginori, Via del
Tritone 24; Salvini, Via del Babuino 118a.

Marble Cutters : Orlandi, Via Sistina 75bc; Piermatlei , Via Sistina 81.

Mosaics: Roccheggiani , Via Condotti 13. — Mosaics and cameos, at
moderate prices, also at Via Sistina 24.

Roman Pearls : Rey, Via del Babuino 122 ; Lacchini, Piazza di Spagna 69.

Booksellers. Spilhijver , Piazza di Spagna 84; Loescher & Co., Palazzo
Simonetti. entered from Via del Collegio Romano; Piale, Piazza di Spagna 1;
Modes <b Mendel, Pal. Bernini, Corso Umberto Primo 146; Lux, Via delle
Convertite 19. English, German, and French books at all these. Fratelli
Bocca, Corso Umherto Primo 217; Fratelli Treves, Corso Umberto Primo 383;
Faravia A Co., Via Nazionale 15 and Piazza Santi Apostoli 56-65. — Religious
Works: Spith/iver, see above; Pustet, Pia'za di Trevi 81; Desclie, Lefebvre,
& Co., Via Santa Cbiara20. — Maps: Loescher, see above; Bossi, Corso Umberto
Primo 401. — Old Books at Loescher's (see above) and Kernpner's, Via
Condotti 51. — Bookbinders (Roman parchment bindings): Olingler, Via
della Mercede 35 and Piazza di Spagna 80; Olivieri, Piazza di Spagna 87;
Andersen, Via Frattina 40 and Via Boncompagni 194; Societa Cooperativa,
Via Pie di Marmo 13 (cheap).

Lending Libraries. PiaWs, Piazza diSpagnal, with over 25,000 English,
French. German, and Italian works on history, art, etc. (one vol. 3, three
vols. 4 fr. monthly); Miss Wilson's, Piazza di Spugna 22, for recent English
books and for works on Rome (one vol. 3, three vols. 5 fr. monthly); Loe-
scher's (see above; one book weekly 1, monthly 3 fr.). — Reading Rooms.
Piale, Piazza di Spagna 1 (English and American newspapers; per month
3 fr.). Foreign Newspapers : Piazza di Spagna 61.

Music Sellers. Clara Bretschneider, Via Condotti 85, 1st floor (pianos
and music for sale or hire); Stabilimento Musicale Romano, Bossola, Ricordi,
Corso Umberto Primo 387, 140, and 269.

Photographs: Alinari <£• Cook, Corso Umberto Primo 137a ; Spithover
(see above; Anderson's photographs); Loescher, Modes it: Mendel, Piale, and
Glingler (=ee above); Moscioni, Via Condotti 76; Ferrari. Via Condotti 23a;
A. Schwarz & Co. , Via Condotti lOa-b. — Photographic Materials : Briigner,
Via del Q'lirjnale 52; Iride, Corso Vmberto Primo 222; Vasari, Via Mer-
cede 3-8; Rocca, Via del Babuino 92 b.

Photographers. For reproductions of pictures, etc. : Pliiscbow, Corso
Umberto Primo 133; Fabbri, Via Capo le Case 90 (1st floor); Lucchelli, Via
della Croce 41 (4th floor). — Portraits: Alessandri, Via Condotti 63; Le

Shops. MOMSJT Prelim. Information. 143

Lieure, Vieolo del Mortaro 19; Felicetti, Corso Umberto Primo 174 and
Piazza di Spagna 9; Montabone, Via Nazionale 188; Schemboche <? Baldi, Via
Mercede 54 ; Suscipi, Via del tjuirinale 7 (1st floorl ; Dotlarelli, Via Belsiana 29 ;
Spadoni (children a speciality), Via Due Macelli 66.

Engravings at the Regia Calcografia, formerly the Stamperia Camerale
(moderate prices; large views by Piranesi 4-8 fr.l, Via della Stamperia 6
(PI. I, 21 ; p. 161). Old engravings at Kempner's, Via Condotti 51 (see p. 142).

Clothing, etc. — Ready-made Clothing for Ladies and Gentlemen
(see also Tailors): Fratelli Bocconi, Corso Umberto Primo, adjoining the
Piazza Colonna ; Contratti & Co., Corso Umberto Primo 3S5; Old England,
Via Nazionale 119 (also to measure).

Ladies' Deess and Millinery; Pontecorvo, Corso LTmberto Primo 170;
Agostini, Via del Tritone 205; Festari, Bori, Via Nazionale 176 and 251;
Compagnie Lyonnaise, M. Giubergia, Gennari, Milani, De Sanctis, Mary, all
Corso Umberto Primo (Nos. 473, 52'i, 3.i7, 69, 477, and 85); Cima d- Scag-
liotti (millinery), Via Frattina 32; Giordani, Via San Niconlo da Tolentino 26,
first floor (for moderate requirement); Stelluti, Corso Umberto Primo 611.

Dbapeks' Goods, Lingerie, etc.: Franceschini, Corso Umberto Primo 142,
Ballario, Via Colonna 20; Manni, Moglia. Corso Umbirto Primo 309 and
135; Borgia. Via dei Prefetti 19; Frette & Co.. Via Nazionale 83; Melzi,
Via Frattini 91, Al Pvcolo Parigi, Corso Umberto Primo 152; Todros,
Schostal, Outset, Corso Umberto Primo 417, 158, and 243; Kent & Co., Via
Condotti 36; English Warehoute, Via del Tritone 32, and Via Condotti 61;
La Perfezione, Corso Umberto Primo 309.

Gloves, Collars, and Neck-ties: Merola, Corso Umberto Primo 143
and Via Nazionale 62; Signorelli, Via del Tritone 11 ; also at Corso Umberto
Primo 227 and 318 and Via Condotti 47.

Hatters : Miller, Via Condotti 16 and Corso Umberto Primo 403 ; Vigano,
Via Marco Minghetti and Via Cavonr 75; Marlinoli, Radiconcini, Corso
Umberto Primo 264 and 384.

Roman Silks: Berelti, Piazza della Minerva 75 ; Bella, Via Condotti 67;
Roman Silk Wearing Co., Via Condotti 82; Pierogostini , Be Felice, Piazza di
Spagna 63 and i 8 ; The Roman Silk Manufacturing Co , Pi azza del Popolo 17. —
E Oman Costumes: Ant Orsola, Via Sistina 28; Garbara,\i& del Babuino 30;
Sironi, Via Sistina 23.

Shoemakers: Bamboccioni, Via Frattina 11 (ladies' shoes); Mazzocchi,
Maurelli, Via Due M- crlli 48 and l'l; Industria Italiana, Corso Viitorio
Emanuele 67 and Via Nazionale 183 (cheap) ; Forte, Corso Umbert" Primo 346.

Tailors: Matlina, Mortari, London House. Corso Umberto Primo 107
(1st floorl, 333 (1st floor), and 403; Unione Militare, Via in Lncina; Reanda
& Co., Piazza Santi Apostoli 60; Solaro, Via delle Vergiui 11; Randanini,
Corso Umberto Primo 181. — Dress Suits on hire at Corso Umberto
Primo 177, 342, 415.

Household and Travelling Requisites (see also p. 142) : De Angelis,
Via Capo le Case 94: Old England, Via Nazionale 119 ; Barfoot (for saddlery,
etc.), Via del Babuino 150d & 152; Destefani, Via del Tritone 204.

Ironmongery (Lamps, Tea and Cot'ee Machines, etc.): Ditmar (for
lamps), Corso Umberto Primo 288; Faucillon, Via Propaganda 23 ; Phzaroni,
Via Due Macelli 107. — Hardware and Faxcy Goods; Janelti, Via Con-
dotti 18; Cogiati, Finzi <k Bianchelli, Corso Umberto Primo 250 and 377;
Old England (see above); Sarteur, Corfo Umberto Primo 265.

Porcelain: Ginori, Via del Tritone 24-29.

Opticians: Hirsch, Priotti, Suscipi, Corso Umberto Primo Nos. 402,
412, 157. ' '

Umbrellas, Sunshades, and Fans : Gilardini, Corso Umberto Primo 185;
Motta, Corso Vitt. Emanuele 12; Gualtari, Corso Umberto Primo 144; etc.

Upholsteeers : Peyron & Co., Corso Vittorio Emanuele 53; Fit. Haas it
Ft}U, Via Condotti 46; Palladino <t Pignalosa, Corso Umberto Primo 381. —
Cabinet Maeees : Kaldeway, Via Capo le Case 34; CagiaH, Corso Umberto
™« 250; Mangold, Via Margutta 70; Gieffers, Via Santa Susanna 11;
BvrmiHer, Palazzo Venezia; Lademann, Via della Croce 32.

144 Prelim, information. RUMK. Church Festivals.

Watchmakers: Hausmann, Corso Umberto Primo 406; Michaelsen, Via
delle Convertite 15 ; Kohlmann, Via Condotti 69 ; Conti, Piazza di Spagna 53.

g. Church Festivals. English Churches.

Church Festivals. Since the annexation of Rome to the kingdom of
Italy on 20th Sept., 1870, the public ceremonies at which the Pope for-
merly officiated in person (such as those of the H oly Week), the benedictions,
and the pnblic processions including that of the Fete de Dieu, have been
discontinued. The Pope still officiates on high festivals in the Sistine
Chapel (p. 334), but visitors are not admitted without an introduction from
very higti quarters. (Gentlemen are required to wear uniform or evening
dress; ladies must be dressed in black, with black veils or caps.) Music
in St. Peter's, see p. 326. Details of the various festivals are contained
in the Diario Romano, published annually (60c; festivals no longer celebrated
are marked by asterisksl. The best work on the ceremonies of the Holy
Week and their signification is the Manuale delle cerimonie che hanno luogo
nella setlimana santa e nelV ottava di pasqua at Vaticano (1 fr. ; also a French
edition), obtainable at the bookshops (p. 142). Details are also given in the
Roman Herald (p. 151) and in bills displayed in the windows at Piale's
(p. 142). Bills posted at the parochial churches give information con-
cerning the ceremonies and illuminations connected with the '(^uarantore'
or exhibition of the H"st for forty hours.
January 1. Gesii (p. 223): High Mass at 10.30 a.m. with illumination.

— 6. Epiphany. S. Andrea della Valle (p. 2£3): at 10.30 a.m. ex-

hibition of the group of the Adoration of the Magi,
presented by Prince Tnrlonia.

— — S. Atanasio dei Greet (PI. I, 17), Via del Babuino:

High Mass according to the Greek ritual, 10 a.m.

— 17. S. Fusebio (p. 183): benediction of horses.

— 18. S. Prisca on the Aventine (p. 290).

— 20. S. Sebastiano on the Via Appi* (p. 394).

— 21. S. Agnese Fnori (p. 38 ) : dedication of lambs in the morning.

— — 5. Agnese, Circo Agon'le (p. 221): Massatl0.45 a.m. (good music).

— 25. S. Paolo Fuori (p. 397).

— 30. <$£. Martin dt Luke, in the Forum (p. 272).

February 1. S. Glemente (p. 299): L wer churcb illuminated from 3 p.m.

— 2. Candlemas. St. Peter's (p. 319): Mass at 9.45 a.m., with Te

Deum and dedication of candles-
On Ash Wednesday and every Sunday during Lent, celebrated Lent ser-
mons in Gesii (p. 223), <S. Maria sopra Minerva (p. 218), S. Lorenzo
in Damaso (p. '^26), and other churches.
March. 9. S. Francesca Romana (p. 2B4): Mass at 10. 45 a.m. ; before 11
a.m. and after 3 pm. the d. veiling of the saint in the nunnery,
Via Tor de' Specehi (PI. II, 17), is open.

— 12. 8. Gregorio Magno (p. 295): Mass at 10.15 a.m.; side-ciapels

open.

— 16. Festival in the chapel of the Palazzo Massimi (p. 225).

— 25. Annunciation. S. Maria sopra Minerva (p. 218) : Mass at 10. 45 a.m.

— 31. S. Balbina (p. 291).

Holt Week. — Halm Sunday. St. Peter's (p. 319): At 10 a.m., after Mass,
procession and consecration o( palms.

— Wednesday. Lamentations and Miserere' in all churches 2 hrs. before Ave

Maria; interesting only in St. Peter's (p. 319; relics of the Passion
displayed) and in S. Giovanni in Laterano (p. 303; best singing).

— Holy Thursday. Lamenta'ions, Miserere, etc., as on Wednesday; washing

of the altar after the Miserere.

— Good Friday. At 10a.m. Entnmbment in all churches; most interesting

at St. Peter's (p. 319) and Gesii (p. 223); the groups remain
on view until Sat. evening. — Lamentations, Miserere, etc.,
2 hrs. before Ave Maria, as above. — In the evening at S.
Marcello al Corso (p. 201), the Seven Sorrows of Mary (often
crowded).

Church Festwau. kumE Prelim. Information. 145

Holt Week. — Saturday. At all churches between 7 and 8 a.m. lighting
of the holy fire. — In the Baptistery of the Lateran (p. 302):
Baptism ot converted Jews and heathens; Consecration of
priests.

Easier Day. High Mass in St. Peter's (p. 319), at the high altar at 10 a.m.
Exhibition of the Passion relics.

Ascension. S. Giovanni in Laterano (p. 3(3): Mass at 10 a.m.

Corpus Domini. Processions at the churches, most magnificent at St. Peter's
(p. 319), S. Giovanni in Laterano (p. 303), and Gesii (p. 223).

April 23. S. Giorgio in Velabro (p. 282).

— 29, 30. S. Maria sopra Minerva (p. 218): Chapel of S. Catharine open

to women.

May 1. SS. Apostoli (p. 2L0).

May 3. S. Croce in Gerusalemme (p. 186) : Mass at 10.45 a.m. ; exhi-
bition of relics of the Cross.

— 6. S. Giovanni a Porta Lalina (p. 293).

— 12. 5. Nereo ed Achilleo (p. 292; celebrated Easter lights).

— 14. S. Alessio (p. 2S7), (in the Aventinc.

— 26. S. Maria in Yallicella (Chiesa Nuova, p. 227): Festival of St.

Philip Neri. whose dwelling is open.
June 10. S. Andrea degli Scozzesi: Festival of St. Margaret of Scotland,

whose relics are exhibited.
£. Giovanni in Laterano (p. 30^); Mass nt 10 a.m.
SS. Giovanni e Paolo on the Cselius (p. 296) : lower church open .
SS. Peter and Paul. — St. Peter's (p. 319): Mass at 10 a.m.

celebration formerly by the Pope.
S. Paolo Fuori (p. 397).
Oetit (p. 223).

S. Petro in Vincoli (p. 188) : St. Peter in Vinculis.
S. Silvestro in Capile (p. 199): Festival of S. Stefano.
S. Maria Magg'ore (p. 180): Mass at 10 a.m. (with fall of rose

petals to imitate snow).
S. Lorenzo in Miranda (p. 263). S. Lorenzo Fuori (p. 1S4).
S. Lu>gi di Fmncesi (p. 220) : Mass at 10.30 a.m.
S. Sabina (p. 286), on the Aventine.
SS. Cosma e Dnmiano, in the Forum (p. 263).
S. Angelo in Pescheria (p. 232).
SS. Martina e Luca (p. 272), in the Forum.
All Souls' Day (Giorno de' Morti). S. Maria delta Concenone

(Capuchin church; p. 162).

- 4. S. Carlo at Corso (p. 198); Mass at 10 45 a.m.

— 8. Quatlro Coronati, on the Caehus (p. 301).

— 9. 5. Teodoro, on the Palatine (p. 282).

— 12. S. Martina ai Monti (p. 188).

- 21,22. S. Cecilia in Trastevere (p. 375) : Music at 10.15 a.m

- 22. Illumination of the Catacombs of St. Calixtus (p. 404); Mass with

vocal quartet at 9.30 a.m.

— 23. S. Clemente (p. 299): Lower church illuminated from 3 p.m.
Dec. 2. S. Bibiana, on the Esquiline (p. 183).

— 5. S. Saba, on the Aventine (p. 290).

- 6. S. Nicola in Carcere (p. 2S), near the Piazaa Montanara; dis-

tribution of gifts to poor children in the sacristy in the morning.

- 24, 26. S. Maria Maggiore (p. 180), Exhibition of the 'Santa Culla .

— 25. Christmas Day. S. Maria in Aracoeli (p. 235): Mass at 10 a.m.,

procession with the 'Santo Bambino' ; beginning of recitations
by children, continued daily till Jan. 6.

- 26. S. Stefano Rotondo (p. 298): German sermon.

- 27. S. Giovanni in Laterano (p. 303): Exhibition of the heads of

SS. Peter and Paul.

- 28. S. Paolo Fuori (p. 397). „ „ L .

- 29. S. Tommaso degli Inglesi (P- 229): St. Thomas of Canterbury.

— 31. S. Silvestro in Capite (p. 199).

— 31. Ambrosian Song of Praise at all churches.

Baede 1 0

24.

26.

29.

30.

July 31.

Aug.

—

10.

—

25.

Aug.

29.

Sept

.27.

—

29.

Oct.

18.

Nov,

. 2.

146 Prelim. IrifD) Muiwn. wi».- Libraries.

English Churches. All Saints, Via Babuino 154; services at 8. 30 a.m.,
11 a.m., and 3 p.m., in summer 9 a.m. and 5 p.m.; chaplain, Rev. F. if.
Oxenham, D.D., Piazza del Popolo 18. — Trinity Church, Piazza San Silvestro,
opposite the Post OfHce (p. 199); services at 11a.m. and 3 p.m.: chaplain,
Rev. J. Seaver, Hotel Beau-Site, Via Ludovisi. — American Episcopal Church
of St. Paul, Via Nazionale; services at 8.30 a.m., 10.45 a.m., and 4 p.m.;
rector, Rev. Dr. Nevin, Via Napoli 58. — Scottish Presbyterian Church, Via
Venti Settembre 7, near the Quattro Fontane; services at 11 a.m. and
3 p.m. ; minister, Rev . Dr. Gray, Via Venti Settembre 7, 2nd floor. —
Methodist Episcopal Church, at the corner of the Via Venti Settembre and
Via Firenze, services in English and Italian ; Pastor, Rev. Dr. William Burt.

— Wesleyan Methodist Church, Via della Scrofa 64; minister, Rev. Henry
Piggolt, Via delle Copelle 28.

Italian Protestant Churches. Waldensian Church, Via Nazionale 106. —
Free Italian Church, Via Panico 43, opposite the Ponte Sant' Angelo. —
Methodist Episcopal Church, see above. — Baptist Chapels: Piazza San
Lorenzo in Lucina (Rev. J. Wall) and Via Urbana 154 (Rev. C. Wall). —
Baptist Church (Rev. Geo. B. Taylor), Via del Teatro Valle 27.

h. Principal Libraries. Learned Institutions.

1. Biblioteca Apostolica Vaticana (see p. 364). Prefect P. Franz
Ehrle. Readers admitted from Oct. 1st to Easter 9-1, from Easter to
29th June 8-12 o'clock; the library is closed on Sun., Thurs., and holidays.

2. Public Libraries (for permission to use, see the placard in the Bibl.
Vittorio Emanuele): Biblioteca Alessandrina (p. 219; 100,COO printed vols.),
daily, Nov. to June 9-2 and 7-10 p.m.; July to Oct. 8 2. — Biblioteca
Angelica (p. 214; ca. 94,000 vols and 2326 MS8.(. week-days 9-3. — Biblioteca
Casanatensis (p. 219; 112,000 vols, and 598L MSS.), daily Oct. to May 9-3,
June to Sept. 7-1. — Biblioteca Gentrale Vittorio Emanuele (p. 204), Nov.
to June 9-K, July to Oct. 9-3. Besides the large public reading-room and
well-supplied newspaper-room, there is a 'Sala Riservata' with an excellent
reference- libra ry, for the use of which a permesso is necessary. This
library (over 500,000 vols, and over 6000 MSS.) was formed in 1871 from
the libraries of the Jesuits and suppressed convents, and is yearly in-
creased by the purchase of new works. The institution is the only library
in Rome in which books are lent out (on the security of the embassy or
consulate; farther particulars in the Uffizio dei Prestiti, on the first floor
of the library). The director is Commendatore Conte Dom. Gnoli.

3. Private Libraries: Biblioteca Santa Cecilia, Via de' Greci 18, Frid.
9 3 (music). — Biblioteca Chisiana (p. 200; valuable MSS.) ; visitors not ad-
mitted. — Biblioteca Corsiniana (p. 372), open to the public daily, except
Sun. and Wed., Nov. to March 1-4, April to July 2-5. — Biblioteca Lanci-
siana (medical works), in the Hospital of Santo Spirito (p. 317), daily, 9.30-
2.30. — Biblioteca Sarti, in the Academy of St. Luke (p. 272), daily except
Sat. and Sun., in summer 8-2, in winter 9-3. — Biblioteca Vallicellana (p. 227;
founded by St. Philip Neri, now managed for the government by the
Societa Romana di Storia Pat ia; valuable MSS.), open on week-days, 9-3.

Learned Institutions : British School at Rome (archaeology; director, H.
Stuart Jones, M. A.), Palazzo Odescalchi (p. 201; entr. Piazza Santi Apostoli).

— American School of Classical Studies, Via Vicenza 5 (director, Prof. Richard
Norton). — British and American Archaeological Society, Via San Niccolo
da Tolentino 72, with a good library. Associates for the season are ad-
mitted; subscription 25 fr.

Lectures on the recent excavations in the Forum and on the Sculpture
Galleries are delivered weekly in winter by Mrs. Burton- Brown (3 Via
Venti Settembre); tickets (5 fr.) also at Piazza di Spagna 22. — Daily
Excursion-Lectures to the sights of Rome are organized by Prof. L. Reynaud
(Via Capo le Case 24 and Piazza di Spugna 22).

Popular Festivals. KUMK. 1'relim. Information. 147

i. Theatres. Concerts. Sport. Popular Festivals. Street Scenes.

Garrison.

Theatres (comp. p. xxiii). Teatro Argentina or Teatro Comunale (PI. II,
14; p. 231), Viadi Tor Argentina; Teatko Costanzi (PL II, 27), Via Firenze;
Teatro Valle (PI. II, 15), near the Sapienza, for dramas; Teatro Dkam-
matico Nazionale (PI. II, 21 ; p. 177), Via Nazionale, near the Palazzo
Colonna; Teatro (^iuirino (PI. II, 18, 21), Via delle Vergini, near the
Fontana Trevi; Politeama Adriano. Piazza Cavour (PI. I, 11). — Besides
these there are the smaller theatres: Teatro Metastasio (PI. 1, 15), Via di
Pallacorda, near the Via della Scrofa; Teatro JIanzoni (PI. II, 27), Via
Urbana 153. — Cafes Chantants. Salone Margherita, Via Due Macelli;
Olympia, Via San Lorenzo in Lucina.

Concerts. The chief concert-rooms in Rome are the Sala Santa Cecilia,
Via de' Greci 18, and the Sala Dante, Piazza Poli (PI. I, 21); but there
are several others. — Military band, see p. 149. A band also plays daily
in the Piazza del Quirinale about 5 p.m., when the guard is changed at
the palace.

Sport. Fox Hounds meet twice a week in winter in the Campagna
and Buck Hunting takes place in winter at Bracciano (p. 103). The meets
are announced in the English newspapers (p. 148) and by bills at the
circulating libraries (p. 142). — Horse Racing in Italy is conducted
under the auspices of the Jockey Club Italiano or the Sociela degli
Steeplechases cfltalia. The chief race-meetings near Rome are held
at Tor di Quinto (p. 384), in March, and at Le Capannelle (p. 411), in April.
The 'Derby Reale', the chief event of the racing year (average value
about 1450!.), is decided at the latter. — Shooting in the Campagna begins
in August; licences (13 fr.) may be obtained at the consulates. — Rowing
on the Tiber, owing to the strength of the current, is recommended only
to experienced oarsmen, who should join one or other of the Rinnan boat-
clubs: the Societa Canotlieri Aniene or Rowing Club Canoltieri Tevere, b' th
at the Passeggiata di Ripetta — Lawn Tennis Club, Via Corsi 38, outside
the Porta del Popolo. — Cycling (comp. p. xvi). The chief clubs at Rome
are the Societa Velocipedistica Romano (bicycling, tennis, skatiog), Vicolo
dei Bagni, outside the Porta del Popolo, and the Sociela Roma, Via .can
Vitale, with a private track. The headquarters of the Touring Club
Ciclistico Italiano are at Via Nazionale 172. Public cycle-tracks, see p. 139.
— Fencing. The Circolo Romano di Sctierma admits strangers, on the
introduction of a member, for an entrance fee and a monthly subscrip-
tion. — Pallone. This national Italian game is interesting to watch and
may be seen at the Sferislerio Romano (P). I, 25), Viale Po (in fine weather
only), and the Sferisterio Spagnuolo (PI. I, 11), Piazza Cavour (covered in).

Popular Festivals (which have lost much of their former interest) : —

The night of January 5th-6th (Epiphany), celebrated in the Piazza
Navona (Circo Agonale, p. 220); array of booths and prodigious din of toy-
trumpets, rattles, etc. (the so-called 'Befana').

The Carnival, lasting from the second Saturday before Ash Wednes-
day to Shrove Tuesday, gradually declined in interest after 1870, and is
now marked only by a greater throng than usual in the Corso, a popular
merry-making in the Villa Borghese or elsewhere, and masked balls at
the theatres. Ladies are advised to eschew the Corso on the chief days
of the Carnival.

The Festa di San Giovanni is kept on the night of June 23rd-24th
(dancing, etc., on the Piazza S. Giovanni in Laterano).

The October Festival, in the vintage-season, once famous, is celebrated
with singing, dancing, and carousals at the osterie outside the gates («.jr.
at the Porta Pia and the Ponte Molle).

The Festa dello Statuto, or Festival of the Constitution, introduced
since the annexation of Rome , is on the first Sunday in June. Military
parade in the forenoon in the Piazza dell' Indipendenza or the Campo
Militare (p. 166). In the evening fireworks ('Girandola' ) in the Piazza del
"opolo and elsewhere. — On the anniversary of the Foundation of Rome

10*

14o Prelim, +..,„...„...>,... _. Garrison.

(21st April), it is usual to illuminate the Colosseum and the Forum with
Bengal fire.

Street Scenes. The top of the Scala di Spagna and the Via del Babuino
(PI. I, 17 ; pp. 160, 157) are the favourite haunts of artists' models, chiefly
Neapolitans and natives of the Abruzzi, whose costumes are a well-known
subject of photographs and pictures. — The favourite haunts of the country-
people, especially on Sundays, are in front of the Pantheon (PI. II, 18, p. 215)
the Piazza Montanara (PI. II. 16; p. 233), and the market-place of the Campo
di Fiore (PI. II, 14; p. 228). Particulars of the rag-fair in the Piazza
della Cancelleria will be found on p. 227. — Among the Ecclesiastical
Costumes perhaps the most noticeable are those of the scholars of the
various seminaries, who are frequently met on the Pincio in the after-
noon, etc. The English and French Seminarists wear black gowns; the
Scottish, violet soutanes with red girdles and black cloaks; the Irish, black
with red lappets and binding; the Germans and Hungarians (Collegium
Germanicum) red; the Spanish, black with blue girdles and black capes
with blue seams; the Belgians, black with red seams; the Bohemians, black
with yellow and brown striped girdles; the Poles black with green gird-
les; the Greeks and Rulhenians, blue with red girdles; the A'orth Americans,
black with blue lining and red girdles; the South Americans, black with
blue girdles and blue linings; the Armenians, wide black gowns with red
girdles The pupils of the Propaganda (p. 160) wear black gowns with
red girdles and red linings.

Newspapers, very numerous, almost all 5 c. per number. Several of
the best are published in the evening The most popular with visitors are:
Italie (in French ; 10 c ) ; Tribuna, Giornale cT Italia, Patria, Riforma, Popolo
Romano (these five liberal); Messaggero (radical i; Osservalore Romano (10 c.)
and Voce della Verita (these two clerical). II Travoso delle Idee (10 c.) *nd
Rugantino are comic papers (the latter in the local dialect). — The Roman
Herald (20 c). a weekly English paper, contains the most reliable list of
the sights of the day.

Garrison. The Infantry of the Line wear the 'giubba\ or dark blue
coat common to the whole army, blue-grey trousers, black leather belts,
and caps ; officers distinguished by silver braid on the sleeves and scarlet
stripe on the trousers. The Bersaglieri or riflemen, forming a corps d'elite
like the Austrian Kaiserjager, wear dark blue uniform with crimson facings
and large round hats with cocks' plumes worn on one side, the officers
are distinguished by a broad red stripe on their trousers. The Cavalry
have a dark blue uniform, light grey trousers, and fur caps. The old
Savoyard regiments wear steel helmets with a gold crest. The Artillery
wear a dark blue uniform with yellow facings (officers with a broad yellow
stripe on their trousers) and the Engineers have a dark blue uniform with
crimson facings. To these we may add the Carabinieri, or gendarmes
(p. xiii), who wear a black uniform, scarlet edging, white belt, and three-
cornered hat. The officers and mounted men have a broad red stripe on
their trousers. — The royal body-guard ( Gnardie del Re, Corazzieri), about
80 men strong, is recruited from the Carabinieri (dark blue uniform with
silver buttons and red facings, dark blue trousers with a wide red stripe
for the foot guards, and grey trousers with black stripes for the horse-
guards, who in full dress wear white leather breeches and high boots and
cuirass, metal helmets with black horsehair plumes, etc.). After three
years' service the guardsman may rejoin the Carabinieri.

j. Best Time for visiting Churches and Hours of Admission to

Public and Private Collections, Villas, etc.

Changes in the arrangements take place so frequently that the follow-
ing data make no pretence to absolute accuracy The lists of sights con-
tained in some of the daily newspapers is s'ill less trustworthy. Reliable
information may, however, be obtained from the bills in Plate's windows
(p. 142) or at Reynaud't Free Enquiry Office, Via Capo le Case 24. Intend-
ing visitors should, however, make additional enquiry.

Churches, PaflO^etc. ROSTEr. Prelim. Information. 149

Free Tickets for artists, etc., and admission of Scholars, see pp. xxii,
xxiii. — Private Collections are usually closed in summer. Public Holidays
on which the collections are closed, see p. xxii; Fees, see p. xii; Guides,
see p. xii.

Churches (comp. p. xxi) are closed from 12 till 3. The five pa-
triarchal churches,' however, San Pietro in Vaticano (p. 319), San
Giovanni in Laterano (p. 303), Santa Maria Maggiore (p. 180), San
Paolo Fuori (p. 397), and San Lorenzo Fuori (p. 184), as well as the
two pilgrim-churches, Santa Croce in Gerusalemme (p. 186), and
San Sebastiano on the Via Appia (p. 394), are open all day. Many
of the smaller and remoter churches are accessible only by means
of the sacristans, except on the festivals of their titular saints.

Parks and Views. The gardens on the Pincio (p. 158), with
their fine view of Rome, are usually crowded towards evening by
both natives and foreigners. A military band plays there about two
hours before sunset on Tues., Thurs., Sat., and Sun. (except in
the height of summer, when the band plays in the Piazza Colonna
and on the Pincio on alternate evenings, beginning at 9 o'clock).
The gardens are closed (except in midsummer) one hour after Ave
Maria. — The park of the Villa Borghese (p. 189) is also open to
the public and may be visited by carriage. — The Passeggiata
Margherita (p. 379), commanding picturesque views, may be visited
either on foot or by carriage. Visitors should arrange to reach San
Pietro in Montorio (p. 377 ; from which our panorama is taken) about
an hour before sunset. — The Palatine (p. 27o) is another admir-
able view-point. — A drive on the Via Appia (p. 393) commands
beautiful views across the Campagna to the mountains. — The park
of the Villa Doria-Pamphili (p. 379) may be visited by carriage, but
only two-horse carriages or one-horse carriages without numbers
are admitted. If time permit, visits may be paid also to the Villa
Celimontana (Mattel , p. 298; Tues., after 2p.m.; permessi, available
only as dated, may be obtained on Mon., Tues., and Sat. between
11 and 12 at Via Aracoeli 43, 3rd floor) and the Villa Wolkonsky
(p. 311 ; Tues. & Sat. in the torenoon; cards of admission from the
porter; fee), both of which have pretty grounds. Villa Madama,
see p. 384.

A Fortnight's Visit.

To obtain even a hasty glimpse of the sights of Rome a stay of
at least 14-16 days in the 'Eternal City' is necessary. The visitor
who has but a fortnight at his disposal will be helped in making
the best use of his time by the plan suggested below, studying this
in conjunction with the tabular statement of hours and days of ad-
mission on pp. 150, 161. A free use of cabs will also be found
necessary.

1st Day. The first part of this had better be devoted to what may
be called an '■Orientation Drive".

Engage a cab for 2-3 hrs. (tariff, see Appendix) and drive down the
Corso as far as the Piazza di Venezia, then to the Foro Trajano and

loO Prelim. ii\

(ormuiivn.

Diary.

Sun. and
holidays

Monday

Tuesday

Accademia di San Luca (p. 272) ....

Antiquarium (p. 294)

Barberini Gallery (p. 164)

Borghese, Mvseo e Galleria (p. 190) . .
Caffarelli, Palazzo (Throne-roam, p. 235)
Capitoline Museum (p. 244)

Castello Sant' Angela (p. 314)

Catacombs of St. Calixtus (p. 404) . .

— of DomWlla (p. 405)

Colonna Gallery (p. 210)

Conservatori, Palace of the (p. 239) . .

Corsini Gallery (p. 371)

Doria Gallery (p. 207)

— Pamphili, Villa (p. 379) ....

Lateral t > r,^ . , . „, - , ^ . .. ■

Collections \ Ch.rlsi1AI? M"seum APamtings

Famesina, Villa (p. 368) . .

Forum Romanum (p. 250) . .

Galleria a" Arte Afoderna (p. 174)

Antique Sculptures (p. 306) .
Christian "" - - - .-

(p. SOS)

Maltese Villa and Santa Maria Aventina
(pp. 287, 288)

Medici, Villa, Garden and Casts (p.- 159) . .

Museo Kircheriano, Mnograftco <fc Preistorico
(p. 201)

— Nazionale delle Terme (p. 167) . . . .

Palatine (p. 275)

St. Peters, Dome of (p. 323)

Quirinale, Palazzo del (p. 178)

Rospigliosi (Pallavicini), Casino (p. 179) . .

Thermae of C'aracalla (p. 291)

t 1. Sistine Chapel, Raphael's Stanze

and Picture Gallery . . .

Raphaels Logge; Cappella di

Niceolo V

Vatican, 2. Antique Sculptures . . . .
Collec- Gabinetto delle Maschere . .

lions t < Etruscan Museum

(pp. 330 Egyptian Museum, Gall. Lapi-
335, 348. d;ma,&Apparta,mento Borgia
360, 364) Galleria dei Candelabri and Ta-
pestries

Library

Villa di Papa Giulio (p. 1S6)

10-3

10-1

10-4

All day
All day

lGvl
10-2.30

after 9 a. m
10-1

10 3
9-3

After 9a.m

12-3

after lOa.m

10-2

10-3
9-12. 2-5
10-4.30
11-5
11-12
10-3

10-4

All day
All day

10-3
10-4

after 1 p.m.

10-3.30

after 9 a.m.
9-3

10-3

10-3
10-4

after 9 a.m.

8-11

after 9 a. m
10-3

10-3

9-12, 2-5

10-4.30

11-5

10-3

10-4

All day
All day

11-3

10-3

10-4

10-2

after 9a.m.

9-3

10-1

10-3
10-3
10-3

10-3
10-4

after 9 a.m.

8-11

after 9 a.m.

10-3

10-3
10-3

10-3

10-3
10-4

t All Papal Collections are closed on the last Thursday in October,

Diary.

Hum il .

rrelim. Information. 151

Wednes-

Admission free except when
otherwise stated.

day

Thursday

Friday

Saturday

10-3

—

1 fr. April lst-Sept. 30 h, 8-2.

9-12. 2-5

9-12, 2-5

50 c.

10-4.30

1 fr.

11-5

115

11-5

1 fr. ; Sun. free.

11-12

—

11-12

—

10-3

i/i fr., Sun. free.

10-4

/ 1 fr. June lst-Sept. 1st 8-12 and 4-0.
1 Conducted parties every '/zhr.

All day

All dav

All day

lfr.

All day

1 fr.

—

11-3

—

11-3

lfr.

10-3

Vs fr., Sun. free.

10-4

1 fr., Sun. free.

—

10-2

—

10-2

—

(1 fr. Open also on the 1st and
i 15th of each month if not fest-
l ivals; closed July-September.

10-3.30

—

10-3.30

—

11 fr. , Sun. free. June 1st-
! Sept. 20th 7-12 (Sun. 8-12)
I and 3 till dusk.

after 9 a.m.

9-3

1 fr., Sun free.
1 1 fr. Christian Museum and

—

10-1

—

10-1

1 Paintings also on the 1st Sat.
; of each month (antiquities

10-3

closed). Closed July 1st
[ Oct. 1st.

after 9 a.m.

8-12, 2-5

—

8-12, 2-5

10-3

1 fr., Sun. free.

10-4

1 fr., Sun. free.

(1 fr. , Sun. free. June lst-
Sept. 20th 7-12 (Sun. 8-12)
l and 3 till dusk.

after 9 a.m.

8-11

Permessi required, except on Sat.
fPermessi (10-12) in the Ministero
) delta Casa Reale, Via del Quiri-

12-3

\ nale 30. next to S. Andrea
I (PI. 11. 2i), first floor.

9-3

ft fr. , Sun. free. June lst-
Sept. 20th 7-12 (Sun. 8-12)
1 and 3 till dusk.

after 9 a.m.

10-3

10-1

(jure 1st- Aug. 31st, 9-1 (Sat,

10-3

\ 9-12).

103

10-3

10-1

(

10-3

—

10-3

—

1 1 fr. , Sat. free. June 1st-

—

10-3

—

| Aug. 31st, 9-1 (Sat. 9-12).

10-3

10-1

(Reading in the Library, see
I p. 146.

10-4

1 fr., Sun. free.

152 Prelim. /n/oBWUlWW. ■ twaiS; Division of Time.

through the Via Alessandrina and Via Bonella to the Forum Romanum,
past the Colosseum, through the Via di S. Giovanni in Laterano to the
Piazza in front of the church, then through the Via Merulana, passing
S. Maria Maggiore, through the Via AgostinoDepretis(QuattroFontane)and
the Via Nazionale to the Piazza Venezia, then through the Corso Vittorio
Emanuele to the Via Tor Argentina, through the last street to the
Ponte Garibaldi, crossing it to Trastevere, passing S. Maria in Trastevere,
and through the Lungara to the Piazza di S. Pietro; then cross the
Ponte S. Angelo, and through the Corso Vittorio Emanuele, and the Via
Aracoeli to the Piazza Aracoeli at the foot of the Capitol, where the cab
may he dismissed. Ascend to the Piazza del Campidoglio I p. 237), visit the
tower on the Senators" Palace (p. 238), the Capitoline Museum (p. 244), and
the Forum Romanum (p. 253). Spend the evening on the Pincio (p. 158).

2nd Day. St. Peters (p. 319; the dome not after 11 a.m.); Antiques
at the Vatican (p. 348) ; Appartamento Borgia (p. 347 ; Tues. and Frid. only) ;
Walk from S. Onolrio (p. 368) along the Passeggiata Margherita (p. 379) to
S. Pietro in Montorio (p. 377), whence the sunset should be viewed.

3kd Dat. Piazza Colonna (p 200); Temple of Neptune (p. 200); Pan-
theon (p. 216); S.Maria sopra Minerva (p. 218); Museo Kircheriano (p. 204);
Galleria Doria (p. 207); Palazzo di Venezia (p. 202); Palatine (p. 275).

4th Day. Palazzo Giraud (p. 317); Sistine Chapel (p. 331); Raphael's
Stanze (p. 335); Paintings in the Vatican (p. 314); Raphaels Logge (p. 342;
on Tues. & Frid. only). Excursion to Ponte Molle (p. 383) or visit the
Villa Doria Pamphili (p. 379).

5th Day. Piazza del Quirinale (p. 177 ; also Casino Rospigliosi, on Wed.
or Sat., p. 179); Galleria Colonna (p. 210); Fora of the Emperors (p. 271);
S. Pietro in Vincoli (p. 188) ; Colosseum (p. 2(i6) ; Arch of Constantine (p. 27U).

6th Day. Piazza Navona (p. 2?0); S. Maria deir Anima (p. 221); S.
Maria della Pace (p. 222); S. Agostino (p. 214); Palazzo Borghese (p. 213);
after 1 p. m., Villa Borgliese, with its antiques and paintings (p. 190);
S. Maria del Popolo (p. 156).

7th Day. Piazza and Palazzo Barberini (pp.162, 163); S. Maria degli
Angeli and Thermfe of Diocletian (Museum, p. 167); S. Agnese Fuori
(p. 389).

8th Day. S. Clemente (p. 299) ; Lateran (Museum, Church, and Bap-
tistery, pp. 302 et seq ); S. Maria Maggiore (p. 180); S. Prassede (p. 187);
S. Lorenzo Fuori (p. 184).

9th Day. Gesti (p. 223); Palazzo Massimi (p. 225); Cancelleria (p. 226);
Palazzo Farnese (p. 229); Galleria Nazionale Corsini (p. 371 ; also Villa
Farnesina, on Mon., Wed., or Frid., p. 368); S. Maria in Trastevere (p. 374);
return across the Isola Tii.erina (p. 233); Theatre of Marcellus (p. 232);
Porticus of Octavia (p. 232); Fontana delle Tartarughe (p. 231)-

10th Day. From the Forum Romanum to the Janus Quadrifons (p. 282);
Cloaca Maxima (p. 283); the two ancient temples adjoining the Ponte Emilio
and the Piazza Bocca della Verita (p. 2S3l; S. Maria in Cosmedin (p. 2^3);
walk over the Aventine (S. Sabina, p. 286); Pyramid of Cestius (p. 289);
Protestant Cemetery (p. 289); electric tramway to S. Paolo Fuori (p. 397)
and back.

11th Day. S. Maria in Aracceli (p. 235); collections in the Palace of
the Conservatori (p. 239); Thermae of Caracalla (p. 291); Via Appia,
within and without the city (pp. 290, 393), and the Catacombs of St. Ca-
lixtus (p. 404).

Other two or three days should be devoted to revisiting the collections
of antiquities in the Vatican and the Capitol and the Mu>eo delle Terme.
Lastly, a day should certainly be devoted to the Alban Mts. (p. 407), and
another to Tivoli (p. 422). These excursions should not be postponed till
the_end_ of the visitor's stay at Rome. They may be made on a Sunday,
which is not a good day for sight-seeing in the city.

Seven Hills: kumtt. Topography. 153

Rome (Roma in Latin and Italian), known even in antiquity as
'the Eternal City', once the capital of the ancient world, afterwards
of the spiritual empire of the popes, and since 1871 the capital of
the kingdom of Italy, with 424,943 inhab. (Feb. 10th, 1901; less
than Naples or Milan; 416,299 live in the town proper, 8644 in the
Carapagna), is situated (41° 53' 54" N. lat., 12°0'29" B. long.,
meridian of Greenwich) in an undulating plain of alluvial and marine
deposits, intersected by volcanic masses. This plain extends from
Capo Linaro, S. of Civita Vecchia, to the Monte Circeo, a distance
of about 85 M. , and" between the Apennines and the sea, a width
of 25 M. The Tiber (Ital. Tevere), the largest river in the Italian
peninsula, intersects the city from N. to S. in three wide curves.
The water of the Tiber is turbid (the 'flavus Tiberis' of Horace).
The average width of the river is about 65yds. and its depth 20 ft.,
but it sometimes rises as much as 30-35 ft. more. The navigation
of the river, by means of which the commerce of ancient Rome
was carried on in both directions, with transmarine nations as well
as with the Italian provinces, is now comparatively insignificant. An
artificial channel has been constructed for the river within the city
since 1876. Eleven bridges span the stream in or near Rome, in-
cluding the railway-bridge at San Paolo and an iron foot-bridge
(p. 228), and others are projected.

The city proper lies on the Left Bank of the Tiber, partly on
the plain, the ancient Campus Martins, and partly on the surround-
ing hills. Modern Rome is principally confined to the plain, while
the Heights on which the ancient city stood were almost unin-
habited in the middle ages and following centuries (comp. p. 155),
and have only recently begun to be re-occupied. These are the far-
tamed Seven Hills of Rome : tha Capitoline, Palatine, Aventine, Qui-
rinal, Viminal, Esquiline, and Caelian hills (comp. the Plan of An-
cient Rome, p. 234). The least extensive, but historically most
important, is the Capitoline (165 ft.), which rises near the Tiber
and the island. It consists of a narrow ridge extending from S.W. to
N.E., culminating in two summits, separated by a depression. Con-
tiguous to the Capitoline, in a N.E. direction, and separated from
it by a depression occupied by Trajan's Forum, extends the long
Quirinal (170 ft.). On the N. a valley, occupied by the Via del
Tritone and the Piazza Barberini, separates the Quirinal from the
Pincio (165 ft.), which was not originally regarded as one of the
chief hills ('Collis hortorum' ; comp. p. 158). To the E. of the
Quirinal, but considerably less extensive, rises the Viminal (180 ft.),
now almost unrecognizable owing to the construction of new streets;
its highest point is near San Lorenzo in Panisperna (p. 180). Farther
to the S., beyond the valley now marked by the Via Santa Lucia in
Selci and the Via Giovanni Lanza, are the Cispius (175 it. at Santa
Maria Maggiore) and the Oppius (165 ft. on the rlateau of Trajan's
Thermae), both included under the name Esquiline. The Oppius,

154 Topogrup,*y . ^i.^. Districts.

Cispius, Viminal, Quirinal, and Pincio may all be regarded as spurs
of the extensive plateau of the Esquiliae (170-195 ft.), which
extended from the Praetorian Camp (p. 166) to the Railway Station
and the Porta Maggiore. To the S.E. of the Capitoline, in the form
of an irregular quadrangle, rises the isolated Palatine (165 ft.),
with the ruins of the palaces of the emperors. Farther to the S.
close to the river, separated from the Palatine by the depression
(70 ft.) in which the Circus Maximus lay, is the Aventine (150 ft.).
Lastly, to the S.E. of the Palatine and to the E. of the Aventine
is the long Caelius (165 ft.), the E. end of which is occupied by
the Lateran. On the low ground between the Caelius, Palatine, and
Esquiline is situated the Colosseum; and between the Palatine,
Esquiline, and Capitoline stretches the Forum.

On the Right Bank of the Tiber lies the smaller part of the
city, divided into two halves : on the N. the Borgo around the Vati-
can and St. Peter's, encircled with a wall by Leo IV. in 852; and
to the S., on the river and the slopes of the Janiculum, Trastevere.
These two portions are connected by the long Via delta Lungara.

The Wall enclosing this area, which was inhabited during the
imperial epoch by 3/4-l million souls, has a length of about 10 M.
on the left bank and is pierced by 13 gates. It is constructed of
tufa concrete with a facing of triangular bricks, and on the outside
is about 55 ft. high. The greater part of it dates from 271 to 276.
It was begun by the Emp. Aurelian, completed by Probus, and re-
stored by Honorius, Theodoric, Belisarius, Narses, and several popes.
The wall on the right bank dates mainly from the time of Pope
Urban VIII. — Since 1870 Rome has been fortified by a series of
detached forts forming a circle of about 30 M in circumference
round the city.

The following description of Rome is arranged in accordance
with a division of the city into four districts, the extent of which is
marked with blue lines on the. clue-map at the end of the Handbook.
To each of these its buildings lend a distinct historical character;
though numerous monuments from all periods of Roman history are
scattered throughout the entire city.

/. The Hills to the North and East : Pincio, Quirinal, Viminal,
and Esquiline, the more modern city, the N. part of which is the
strangers' quarter.

77. Rome on the Tiber (left bank), the city of the middle ages
and following centuries, with the Corso as its main thorough-fare;
now much altered by the construction of new streets.

III. Ancient Rome, the southern quarters, containing the chief
monuments of antiquity.

IV. The Right Bank of the Tiber, including the Vatican, St.
Peter's, and Trastevere.

a. Piazza aei ropaiu. ~ n.\jmn. 1. N. and E. Hills. 155

/. The Hills to the North and East: Pincio,
Quirinal, Viminal, and Esquiline.

The Pincio, the northernmost height in modern Rome, was covered
in antiquity with parks and gardens, and played no conspicuous part
in history; but the Quirinal, adjoining it on the S.E., is mentioned in
the earliest traditions of Rome. On the Quirinal lay the Sabine
settlement whose union with that on the Palatine formed the city
of Rome. The Servian Wall (see p. xxx and the Plan of Ancient
Rome) ran along the N.W. side of the Quirinal, and then to the
S.E. and E. behind the Baths of Diocletian and the railway-station,
enclosing besides the Quirinal, tlie Viminal (to the S.E.), and apart
of the Esquiline (the Cispius and Oppius). According to the division
of the city by Augustus (p. xxxii), this quarter comprised two dis-
tricts, the Alta Semita (Quirinal) and the Esquiliae (Esquiline).
The building of Aurelian's wall shows that this quarter was after-
wards extended. In the middle ages these hills were thinly popu-
lated and formed a single region only, named the Rione Monti, the
most spacious of the fourteen quarters in the city. Its inhabitants,
called Montigiani, differed, like those of Trastevere, in some of
their characteristics from the other Romans. In the latter half of
the 16th cent. Pius IV. constructed the street from the Piazza del
Quirinale to the Porta Pia. The second main street, intersecting this
one almost at right angles and leading from the Pincio to Santa
Maria Maggiore, was made by Sixtus V., who also provided the
hills with water. With the exception of these inhabited quarters
almost the entire E. part of Rome was until lately occupied by
vineyards and gardens. But the selection of the city as the capital
of the kingdom of Italy in 1870 gave a strong impulse to its ex-
tension, and this quarter has assumed quite a new aspect since
that event.

The region known for ages as the Strangers' Quarter lies at the
W. base and on the slope of the Pincio, its central point being the
Piazza di Spagna (p. 160). Thence it stretches N. to the Piazza
del Popolo, W. to the Corso Umberto Primo (p. 197), and E. over
the Quirinal to the railway-station. — Our description starts from
the Piazza del Popolo, at the W. base of the Pincio.

a. Piazza del Popolo. Monte Pincio. Piazza di Spagna.

The N. entrance to Rome is formed by the Porta del Popolo
(PI. I, 13), through which, before the construction of the railroad,
most visitors approacht'd the Eternal City. It lies at the beginning
of the main highway which connects Rome with Tuscany, Umbria,
and N. and E. Italy generally. The gate was constructed in 1561
by Vignola, and the side towards the town by Bernini in 1655, on
the occasion of the entry of Queen Christina of Sweden. In 1878

156 /. JV. ana /■>. mm. ivyjmn. u. a. Maria del Popolo

it was enlarged by the addition of two side-portals. The gate is
named after the adjoining church of Santa Maria del Popolo. — Out-
side the gate, on the right, is the Villa Borghese, see p. 189.

Within the gate lies the handsome *Piazza del Popolo (PI. I,
13, 16), adorned with an Obelisk between four water-spouting lions,
which was erected by Augustus in B. C. 10 in the Circus Maximus
to commemorate the subjugation of Egypt, and dedicated to the
Sun. The hieroglyphic inscription mentions the names of Meren-
ptah I. and Ramses III. (13-12th cent. B.C.). The obelisk was
removed to its present position by order of Sixtus V. in 1589. The
shaft is 78 ft. in height, and the whole monument with the pedestal
and cross 118 ft. — On the W. and E. the Piazza is bounded by
curved walls with groups of Neptune and Tritons, and of Roma
between the Tiber and the Anio. The street behind the W. wall
leads to the new Ponte Margherita (PI. I, 14), affording the shortest
route between the Piazza del Popolo and the Vatican (p. 329).
Behind theE. wall are approaches ascending to the Pincio (p. 157).

*Santa Maria del Popolo (PI. 1, 16), said to have been founded by
Pope Paschalis 11. in 1099 on the site of the tombs of the Domitii,
the burial-place of Nero, which was haunted by evil spirits, was
entirely re-erected under Sixtus IV. in 1477-80. The interior,
decorated by Bernini in the baroque style, consists of nave, aisles,
transept, and octagonal dome, and contains handsome monuments
of the 15th cent. (comp. p. lxv) and other works of art. The sacristan
shows the choir and chapels ; fee l/% fr- ; Des* light in the morning.

Right Aisle. The 1st Chapel, formerly della Rovere, now Venuti, was
painted in 1485-89 by Pinturicchio : "Altar-piece, Adoration of the Infant Christ;
in the lunettes, life of St. Jerome. On the left, the tomb of Cardinal Cristof.
della Eovere (d. 1477), by Mino da Fiesole and Andrea Bregno; right, that of
Cardinal de Castro (1506). — On the pillar to the left, a bust of F. Catel,
the painter (d. 1857), by Troschel. — In the 2nd Chapel (Cappella Cibo):
Assumption of Mary, altar-piece by C. Maratta. — 3rd Chapel, painted by
Pinturicchio (ca. 1504): above the altar, Madonna with saints; on the left,
Assumption of the Virgin; in the lunettes, scenes from the life of Mary; in
the predelle representations of martyrs in grisaille; on the right, tomb of
Giov. Basso della Rovere (d. 1483) ; on the left, recumbent bronze figure of
Cardinal Pietro Foscari (d. 1483), by Ant Rizzo. — In the 4th Chapel (Cap-
pella Costa) is a fine marble altar of 14?9, wilh statues of St. Catharine
between St. Anthony of Padua and St. Vincent; right, tomb of Marcantonio
Albertoni (d. 1485) ; left, that of the founder of the chapel, Cardinal Giorgio
Costa of Lisbon (d. 1503); in the lunettes are the four church- U thers, by
Pinturicchio (14F9).

Kight Transept. On the right, tomb of Cardinal Podocatharus of Cyprus
(d. 1E06). Near it is a door leading into a passage, with an altar, from the
studio of A. Bregno (1497), presented by G. de Pereriis, at the end of which is
the sacristy, containing the former canopy of the high-altar of Alexander VI.,
by Andrea Bregno (1473), with an ancient Madonna of the Sienese school and
the beautiful monuments of (left) Archbishop Rocca (d. 1482), and (right)
Bishop Gomiel.

Left A isle. On the W. wall, next the entrance, curious allegorical tomb of
Giov. Batt. Gislenus (d. 1670). 1st Chapel, on the left and right of the altar, two
ciboria by Andrea Bregno (15th cent.); left, tomb of Card. Ant. Pallavicino
(erected 1507). By the adjacent pillar the baroque monument of a Princess

a. S. Maria deixvpvw. ^usaa. i. N. and E. Hills. 157

Chigi, by Post (1771). — The !i2nd Chapel (Capp. Chigi) was constructed under
the direction of Raphael by Agostino Chigi in honour of Our Lady of Loreto,
in the form of a Greek cross, with a lofty dome, in the style affected for
such structures in the 16th century. On the vaulting of the dome are
'Mosaics by Luigi delta Pace (1516), from Raphael's cartoons. Around the
central circular scene, which represents the Creator surrounded by angels,
are grouped seven planet symbols and a genius leaning on a globe, separated
by ornamental divisions. Each planet is represented by an ancient deity:
Diana or Luna, Mercury, Venus, Apollo, Mars, Jupiter, and Saturn. They
are portrayed in half-figure with appropriate action, and each is enclosed
within a segment of the zodiac, on which rests an angel, either pointing
to the Creator above or in the act of adoration. This association of gods
and angels recalls the prophets and sibyls of Michael Angelo, each of
whom is also accompanied by a genius. But Raphael's composition is
entirely independent, with a distinct significance of its own, and one of a
kind which shows the master's power in its highest manifestation. — To
the right is the tomb of Agostino Chigi, by Lorenzetto, restored in 1652 by
Bernini; to the left, the tomb of his brother Sigismondo Chigi, also by
Lorenzetto. The altar-piece, a Nativity of the Virgin with God the Father
and angels above, is a late work (much darkened) by Sebastiano del Piombo ;
the other pictures are by Salviali and Frunc. Vannt. The bronze relief
on the front of the altar, Christ and the Samaritan Woman, by Lorenzetto,
was until 1652 on Agost. Chigi's tomb. In the niches four statues of pro-
phets: beside the altar (left) "Jonah, probably designed by Raphael, and
(right) Elijah, by Lorenzetto ; at the entrance, (left) Daniel, by Bernini, and
(right) Habakkuk, by Algardi.

Left Transept : Tomb of Cardinal Bernardino Lonati (a Florentine
work of the 15th cent.). The outer chapel, to the left of the choir, contains
a statue of St. Bibiana, by Bernini, from the church mentioned at p. 183-
In the Choir, "Ceiling-frescoes by Pinturicchio (executed 1508-9): Coro-
nation of the Virgin, the Four fevangelists, and the Four Fathers of the
church, Gregory, Ambrose, Jerome, and Augustine, in excellent preser-
vation, and long deservedly admired for the skilful distribution of space.
Beneath are the "Tombs of the cardinals Girolamo Basso della Rovere and
Ascanio Sforza by Andrea Sansovino, erected by order of Julius II. (1505-7).
The same pope caused the two fine stained-glass windows to be executed
by Quillaume de Marcillat.

The church gives title to a cardinal. In the adjacent suppressed
Augustine monastery Luther resided during his visit to Rome ([1510).
Three streets diverge from the Piazza del Popolo on the S.: to
the right the Via di Ripetta, parallel with the river (p. 213); in the
centre the Corso XJmberto Primo fp. 197J ; and to the left the Via
del Babuino. The last, with the Church of All Saints (p. 146) and the
house (No. 144) in which John Gibson, the sculptor, died in 1866,
leads to the Piazza di Spagna (p. 160). — Between the last two
streets stands the church of Santa Maria in Monte Santo, and be-
tween the first two that of Santa Maria de Miracoli, both dating
from the latter half of the 17th cent., with domes and vestibules,
designed by Rainaldi, and completed by Bernini and C. Fontana. —
Parallel with the Via del Babuino, on the E., runs the Via Margutta,
the chief artists' street, with innumerable studios.

If we ascend the Pincio by the approaches named at p. 156 (gates
closed one hour after Ave Maria) , we observe in the first circular
space two granite columns from the temple of Venus and Roma
(p. 265), adorned with the prows of ships (modern); in the niches
three marble statues, above, captive Dacians, imitations of antiques.

158 J. 2V. ana ih. xiius. in/mn. a. The Pincio.

Beyond these, a large relief. Halfway up are an antique granite
basin, with a fountain, and a large Equestrian Statue of Victor Em-
manuel II., erected in 1878, under a loggia.

The *Pincio (PI. I, 16, 17, 20; comp. p. 153), the collis hor-
torum, or 'hill of gardens', of the ancients, was called Mons Pincius
from a palace of the Pincii, an influential family of the later period
of the empire. Here were once the famous gardens of Lucullus, in
which Messalina, the wife of Claudius, afterwards celebrated her
orgies. A -vineyard belonging to the monastery of Santa Maria del
Popolo was converted by Oius. Valadier, the Roman architect, during
the Napoleonic regime (1809-14), into the beautiful pleasure-
grounds. This is a fashionable resort towards evening (comp.
p. 149), when the Italians pay and receive visits in their carriages.
— The projecting terrace above the Piazza del Popolo (150 ft.)
commands a magnificent *Vie-w of modern Rome, which, how-
ever, has been much impaired by the building-over of the Prati di
Castello.

Beyond the Piazza del Popolo and the new quarter on the Prati di
Castello, on the opposite bank of the Tiber, rises the huge pile of St. Peter's,
adjoining which is the Vatican to the right, and near it the city-wall.
Among the hills which bound the horizon, the point planted with cypresses
to the right is Monte Mario, with the Villa Mellini. To the left of St. Peter's,
close to the Tiber, which is not visible, is the round castle of Sant' Angelo,
with the bronze angel which crowns it. The pines on the height to the
left of the castle belong to the Villa Lante on the .laniculum, with the
Passeggiata Margherita, on which the Statue of Garibaldi is conspic-
uous. Farther to the left, on the height, the facade of the Acqua Paola,
adorned with a cross. Between the spectator and the river is a labyrinth of
houses and churches. The following points serve as landmarks. Of the
two nearest churches that with the two towers to the right is San Giacoino
in the Corso, that with the dome to the left, San Carlo in the Corso ; behind
the former is the round glass roof of the Mausoleum of Augustus, and
between the two appears the flat dome of the Pantheon, beyond which a
part of the Campagna is visible. To the left of this, on the height in the
distance, rises the long, undecorated side of the church of Santa Maria in Ara-
coeli, and behind it appears the tower of the senatorial palace on the Capitol.
On the right side of the Capitol the upper part of the column of M. Aurelius
in the Piazza Colonna is visible. Adjacent to the Capitol, on the left, is the
Villa Mills on the Palatine. Farther to the left a low tower by the Quirinal,
the so-called Torre di Milizie. To the extreme left, and less distant, ia the
extensive royal palace on the Quirinal.

Near the middle of the gardens , beside the Cafe , rises an
Obelisk, which Hadrian erected in front of the tomb of Antinous
on the Via Labicana. It lay in a vigna outside the Porta Maggiore
(p. 185) till 1633, and was erected here in 1822. — The various
walks are embellished with busts of distinguished Italians. To the
right of the road leading to the S. exit of the Pincio is a monument
by Ereole Rosa, erected in 1883 to the memory of the brothers
Cairoli of Pavia, who fell in battle near Rome in 1867 and 1870.
A monument in the form of a globe, to the left, near the exit, com-
memorates Oalileo Oalilei, who was confined from 1630 to 1633, at
the instance of the Inquisisition, in the "Villa Medici. — The exit
is closed by an iron gate.

a. SS. Trinaa av-mvnm. numji. i. N. and E. Hills. 159

Leaving the Pincio by this S. gate , we observe to the left the
Villa Medici. In front of it is an avenue of evergreen-oaks and a
fountain, whence a celebrated view of St. Peter's, most striking
towards evening or by moonlight, is obtained.

The Villa Medici (PI. I, 17, 20], erected in 1540 by Annibale
Lippi for Cardinal Ricci da Montepulciano, came into possession of
Cardinal Alessandro de' Medici about 1600, and afterwards belonged
to the grand-dukes of Tuscany. In 1801 the French academy of
art, founded by Louis XIV. in 1666, was transferred hither (comp.
p. 201). Ancient reliefs {e.g. from the Ara Pacis, p. 172), are built
into the walls of the tastefully decorated garden-facade of the villa
(adro., see pp. 150, 151 ; by the gate to the left, or by the staircase
to the right in the house). The wing contains a Collection of Casts,
comprising many from statues not preserved at Rome, e.g. from
the Parthenon of Athens, which are valuable for students. To the
right, in the garden, between two columns with an architrave, is an
antique statue with an admirable head of Meleager not belonging to
it, peihaps by Scopas (p. xlix). From the terrace (20-25 c. if the
door is shut) we enter the upper garden (the iBoschetto'~), from the
highest point of which, the Belvedere, a fine view, now somewhat
circum-scribed, is enjoyed.

The street passing the front of the Villa Medici ends in the Piazza
dblla Trinita (PI. I, 20, 21), where to the left rises the church
of Santissima Trinita de' Monti. The Obelisk in front of it, a con-
spicuous object from many points, is an ancient imitation of that
in the Piazza del Popolo, arid once adorned the gardens of Sallust.

Santissima Trinita de' Monti (PI. I, 20), erected by Charle VIII.
of France in 1495, and devastated during the French Revolution, was
restored by Mazois in 1816 by order of Louis XVIII. It is seldom
open except in the evening at vespers (1 hr. before Ave Maria).
At vespers on Sunday the nuns of the convent connected with
the church (Dames du Sacre Cceur), for whom Mendelssohn com-
posed several pieces, perform choral service with organ-accompani-
ment. When the door is closed , visitors ascend a side-staircase on
the left, and ring at a door under a metal roof.

Left, 2nd Chapel: "Descent from the Cross, altar-piece al fresco, by
Daniele da Volterra, his masterpiece (freely restored and scarcely ever in
a good light) ; the excellence of the drawing and composition is better
seen in a sepia-drawing at the Lateran. 3rd Chapel : Madonna, altar-piece
by Ph. Veil. 4th Chapel : St. Joseph, by Langlois. 6th Chapel : Christ, the
Wise and Foolish Virgins (left) , and Return of the Prodigal (right) , an
altar-piece by Seilz. — Right, 3rd Chapel : Assumption of the Virgin, ban.
da Volterra (school-piece, with a portrait of Michael Argtlo, who is said
to have worked on it). 5th Chapel : Presentation in the Temple, Adoration
of the Magi, Adoration of the Shepherds, of the School of Raphael. 6th Chapel :
Resurrection, Ascension, Descent of the Holy Ghost, School of Perugino. — In
the Teansept, which is supported by Gothic arches, paintings by Pcrin del
>aga and P. Zuccaro.

To the S.E. from the Piazza the broad Via Sistina (p. 162) runs
to the left, and to the right the small Via Gregoriana, which ends

160 I. N. ana &. uw. uvi^ — v.. -Piazza di Spagna.

in the cross-street, Via Capo le Case. — Lift irom the Piazza di
Spagna, see below.

The Scala di Spagna (PI. I, 20, 21; 'Gradinata della Trinita
de' Monti'), which descends from Santissima Trinita to the Piazza
di Spagna by 137 steps, was constructed by Al.Specchi andDe Sanctis
in 1721-25. Models for artists with their picturesque costumes
frequent its -vicinity. At the foot of the steps (to the left as we
descend) is the house where John Keats died in 1821 (inscription).

The Piazza di Spagna (PI. I, 17, 18; 82 ft.), with its hotels
and attractive shops, is the central point of the strangers' quarter.
Opposite the steps is La Barcaccia (barque), a fountain by Bernini
in the shape of a war-ship, spouting water from its cannons. This
form was chosen by the artist because his supply of water, from a
branch of the Acqua Vergine, had very little 'head'. — The Via del
Babuino, leading to the N., is mentioned on p. 157; the Via Con-
dotti, leading to the W. opposite the steps, on p. 212. From the
N.E. corner of the piazza, next the Hotel de Londres, a lift (ascensore)
plies to the Pincio until dusk (up 10, down 5 a). — The square
derives its name from the Palazzo di Spagna, in the S. part of the
W. side, which has been the Spanish embassy to the Curia since the
17th century. In front of the embassy rises the Column of the Im-
macolata, erected by Pius IX. in honour of the 'Immaculate Con-
ception of the Virgin', a dogma promulgated in 1854 ; on the top of
the cipollino column stands the bronze statue of Mary; beneath are
Moses, David, Isaiah, and Ezekiel. — The small E. expansion of the
Piazza at this point, known as the Piazza Mignanelli (PI. I, 21), is
the starting-point of several lines of omnibuses (comp. the Appx.).

To the S. is the Collegio di Propaganda Fide (PI. I, 21), founded
in 1622 by Gregory XV., and extended by his successor Urban VIII.
(whence ' Collegium Urbanum'^), an establishment for the propagation
of the Roman Catholic faith, where pupils of many different nation-
alities are educated as missionaries. An annual celebration takes
plane in Jan., with speeches in various languages by the students
(adm. by ticket). The printing-office (Tipografia Poliglotta) of the
college was formerly celebrated as the richest in type for foreign
languages. On the second floor is the Museo Borgiano (mostly eth-
nographical; open free on Mon., Thurs., and Sat, 10-1).

To the S.E. from the Piazza di Spagna the Via de' Due Macelli
(to the left of the Propaganda) runs straight to the tunnel (p. 176)
under the Quirinal (tramway, see Appendix, pp. 1, 2, Nos. 7
and 10); while the Via di Propaganda (to the right) leads to the
church of Sant' Andrea delle Fratte at the corner of the Via Capo
le Case (p. 151).

Sant' Andrea delle Fratte (PI. I, 21) is by O. B. Guerra (1612);
the dome and campanile are by Borromini; the facade was added
in 1826 by Qius. Valadier.

a. Fontana at vrebt. KOTTB. J. N. and E. Hills. 161

The pictures in the interior are poor works of the 17th cent. ; the
two angels to the right and left of the choir, by Bernini , were originally
destined for the Ponte Sant' Angelo. In the 2nd Chapel on the right is (on
the right side) the monument of Miss Falconnet by Harriet Hosrner; on the
last pillar to the right, in front of the aisle, the monument of the artist
E. Schadow (d. 1822), by Em. Wolff. To the left of the exit to the Via Capo
le Case is the tomb of Angelica Kauffmann (d. 1807).

In the Via Capo le Case stands the church of San Giuseppe a
Capo le Case (PI. I, 21), adjoining -which is the Mtjseo Artistico-
Industriale, an unimportant collection of terracottas, majolica,
glass, and ivory and wood carving (open daily 9-3, Sun. 10-2 ; adm.
50 c).

We follow the Via di Propaganda farther on, and then turn to
the left into the Via del Nazareno (PI. I, 21). To the right in
the court o I No. 12 are remains of three arches, with engaged columns
between them, belonging to the Aqua Virgo, with a long inscription
to the effect that the Emperor Claudius restored the aqueduct that
had been 'disarranged' by his predecessor Caligula (comp. helow).
The Via del Nazareno leads to the Via del Tritone (PI. I, 21), the
narrow but husy thoroughfare between the quarter on the N. hills
and the Corso Umherto Primo, which ends to the left (E.) in the
Piazza Barberini (p. 162), and to the right (W.) in the Piazza Colonna
(p. 200).

The Via del Nazareno is continued to the S. by the winding
Via della Stamperia (PI. I, II, 21), which passes the Ministry of
Agriculture and the royal Engraving Establishment (Begia Calco-
grafia, p. 143), and ends at the Fontana di Trevi.

The *Fontana di Trevi (PI. II, 21), the most magnificent of the
public fountains of Rome, is erected against the S. side of the Palazzo
Poli, and was completed in 1762 from a design by Nice. Salvi (1735 )
aided by a drawing by Bernini. In the central niche is a figure of
Neptune, by Pietro Bracci ; at the sides, Health (right) and Fertility
(left) ; in front, a large stone basin.

The ancient Aqua Virgo, which issues here, was conducted by M. Agrippa
from the Campagna, chiefly by a subterranean channel 14 M. in length, to
supply his baths beside the Pantheon (p. 218), in B.C. 19. It enters the city
near the Villa Medici (p. 159). The name originated in the tradition (perhaps
not unconnected with the virgin purity of the water) that a girl once
pointed out the spring to some thirsty soldiers. The fountain was restored
by Claudius in 46 A.D. (to which fact the inscription mentioned above
refers), and later by the popes Hadrian I. and Nicholas V. In 1453 the
latter pope conducted hither the main stream of the aqueduct , and the
fountain then exchanged its ancient name for its present name of Trevi
(a corruption of 'Trivio'), which it derives from its three outlets. This
aqueduct yields daily upwards of 13 million cubic feet of water, perhaps the
heat in Rome. The fountains in the Piazza di Spagna, the Piazza Navona,
and the Piazza Farnese are supplied from the same source. — On quitting
Rome, travellers take a draught from this fountain, and throw a coin
into the basin, in the pious belief that their return is thus ensured.

The Viadelle Muratte (at No. 78 in which Donizetti lived ; tablet)
leads to the S.W. from the fountain to the Corso (p. 197). Opposite
the fountain is Santi Vincenzo ed Anastasio (PI. II, 21), erected in

162 /. JV. and E. TKtt. KuME. ^vrS/HIaria della Concezione.

1650 by Cardinal Mazarin, from designs by M. Lunghi the Younger.
In its subterranean chapel are preserved the hearts of the popes
since Sixtus V. — The Via di San Vincenzo, called farther on Via
de' Lucchesi, and then (beyond the Piazza Pilotta, p. 177) the Via
Pilotta (pp. 177, 210), leads to the Palazzo Colonna (p. 210). (From
the Via de' Lucchesi the Via della Dataria leads on the left to the
Quirinal; p. 178.)

b. Via Sistina. The Ludovisi Quarter. Quattro Fontane.
Via Venti Setterabre.

The Via Sistina (PI. I, 21), which begins at the top of the Scala
di Spagna and runs thence to the S.E., was, as already mentioned on
p. 155, one of the new streets constructed by Sixtus V. From the
top of the Pincio it descends into the hollow between that hill and
the Quirinal, then, with its continuation the Via Quattro Fontane
(p. 163), crosses first the crest of the Quirinal and, beyond another
hollow, that of the Viminal, and finally, under the name of Via Agos-
tino Depretis, ends on the Esquiline at the church of Santa Maria
Maggiore (p. 180), which fills in the vista from the higher points
along the entire line of streets.

To the right, immediately at the beginning of the street, close to
the Piazza Santissima Trinita de' Monti, Via Sistina 64, is the Casa
Zuccari, once the house of the family of the artists of that name.

The Via di Porta Pinciana, which diverges to the left farther
on, forms the W. boundary of the new Ludovisi Quarter and leads
past the Villa Malta (PI. I. 20 ; no admission) to the Porta Pinciana
(p. 163). — Farther on in the Via Sistina, No. 126, to the left, is
the house where Gogol, the Russian author, lived in 1838-42 (in-
scription).

To the right, at the end of the Via Sistina, diverges the Via
del Tritone (p. 161), while on the slope ascending to the left lies
the Piazza Barhemni (PI. I, 21, 24), the chief decoration of which
is the Tontana del Tritone, by Bernini, with a Triton blowing a
conch. — Opposite the S. side of the fountain is an annexe of the
Palazzo Barberini (p. 163).

To the left of the Piazza Barberini lies the Piazza de' Cappuccini,
in which is situated the church of Santa Maria della Concezione
(PI. I, 21, 24), or dei Cappuccini, founded in 1624 by Card. Barberini.
In the interior, over the door, is a copy of Giotto's Navicella (in the
vestibule of St. Peter's, p. 321), by Franc. Beretta. 1st Chapel on
the right: St. Michael, by Ouido Rent; in the 3rd, remains of fres-
coes by Domenichino. Beneath a stone in front of the steps to the
choir lies the founder of the church ('hie jacet pulvis cinis et nihil').

Beneath the church are four Bokial Vaults (shown by one of the
monks), decorated in a ghastly manner with the bones of about 4000 departed
Capuchins. Each vault, contains a tomb with earth from Jerusalem. In
the case of a new interment, the bones which had been longest undisturbed

b. Pal. BarberinT. KOME. /. N. and E. Hills. 163

were used in the manner indicated. The vaults are illuminated on
2nd Nov. (All Souls' Day), after Ave Maria.

The Via Veneto (PI. I, 21, 23), winding up the hill from
the Piazza de' Cappuccini, leads to the new quarter which has
sprung up since 1885 on the grounds of the former Villa Ludovisi.
In this street, a short distance before its intersection with the Via
Ludovisi and the Via Boncompagni, rises, on the right, the hand-
some Palazzo Margherita (PI. I, 23), formerly called the Palazzo
Boncompagni -Piombino, erected "by G. Koch (1886-90) and since
1900 the residence of the Queen -Dowager Margherita. The
celebrated collection of antiques has been transferred to the Museo
delle Terme (p. 172). The district on which the present Ludovisi
quarter stands was occupied in antiquity by the splendid Gardens of
Sallust, the historian, which were afterwards acquired by the em-
perors. The numerous edifices in these gardens are now represented
by a large domed building with eight niches in the Piazza Sallustiana
(PL I, 26), called without foundation 'Tempio di Venere', but most
probably a nymphseuni.

Beyond the Palazzo Margherita the broad Via Veneto, flanked
with trees, leads to the Porta Pinciana (see below). In the Via
Lomhardia, the second side-street on the left, is the entrance to the
Casino dell' Aukoka (PL I, 20), a garden-house belonging to the
former Villa Ludovisi, now occupied by the American School of Art
(p. 141). On the ground-floor is a ceiling-painting of AuroTa, and
on the first floor one of Fama, both by Guercino (no admission). On
the inner side of the town-wall, near the gate, to the E. is an antique
bust of the type of Alexander the Great, which with the surrounding
decoration was brought from the Villa Ludovisi (see above).

Outside the Porta Pinciana (PL I, 20, 23) is the E. entrance to
the Villa Borghese (see p. 189).

From the Piazza Barberini (p. 162), the Via Sistina is continued
by the Via Quattro Fontanb (PL I, II, 24), in which, to the left,
is the —

* Palazzo Barberini (PL I, 24), an imposing structure in the
baroque style, begun by Maderna under Urban VIII., and completed
by Bernini (p. lxxiv). The garden in front contains a marble statue
of Thorvaldsen, by E. "Wolff, after a work by the master himself,
erected here, near his studio, by bis pupils and friends in 1874.
— The principal staircase is to the left under the arcades ; built
into it is a Greek tomb-relief (top half modem); on the landing
oi the first floor, a lion in high-relief, from Tivoli. At the top of
the staircase is the Sculpture Saloon, with a large ceiling-painting
('II Trionfo della Gloria') by Pietro da Cortona, and containing
» number of ancient and modern sculptures. This room is shown
ouly in the absence of the Spanish ambassador to the Quirinal, who
occupies this part of the palace.

11*

164 7. N. and E. mm. kumm b. Quattro Fontane.

The Gallbeia Baeberini, on the S. side of the right wing (en-
trance through the garden; adm., see p. 150), now contains only a
limited number of important pictures, the principal ones having
been removed to the prince's private appartments.

I. Room : 10. Pomarancio, Magdalen ; 15. After Raphael, Madonna. —
II. Room: Admirable "Statie by a Greek master, representing a suppliant
for protection at an altar (comp. p. 353). — 64. Mengs, Portrait of hia daughter;
62. Sacchi. Urban VIII.; Guido Reni, 45. Sleeping child, 65. St. Andreas
Corsini ; 87. Spanish School, A'ina. Colonna. — 111. Room : 72. Fr. Francia (?),
Madonna with St. Jerome; 70. Broniino (?), Portrait; 76. Imitator of Palma
Vecchio (not Titian), 'La Schiava', female portrait. '79. DUrer, Christ among
the Scribes, painted at Venice in five days in 1506 ('opus quinque dierum').
The numerous heads in this picture are ungrouped, some of them resemble
caricatures, and it is in the execution of the expressive hands alone that
the workmanship of the master is apparent. 71. Innoc. d'i Imola, Betro-
thal of St. Catharine; 83. Pontormo (acording to Morelli), Pygmalion. ~85.
Raphael (ca. 1510), Portrait of the so-called Fornarina, so frequently copied,
sadly injured The Fornari 1a is merely a round-faced Roman girl, such
as may frequently be met in the streets of Rome to-day — no radiant beauty
but full of living charm. 84. School of Giov. Bellini, Madonna; 89. Parmigia-
nino, Betrothal of St Catharine ; 93. N. Poussin, Death of Germanicus ; Claude
Lorrain, 103.Landscape, 1U7 Sea-piece, 1* 9. AcquaAcetosa; 106. Fr. FrmciaO),
Madonna; 105. Sodoma (?), Madonna; 103. And. del Sarto, Holy Family. In
the middle is the model of Bernini's Elephant in the Piazza della Minerva
(p. 218). — IV. Room: 126. Guido Reni{1), Be trice Cenci (so called, p. 232);
128. Scip. Gaetano, Lucrezia Cenci, stepmother of Beatrice ; 133. Europa and
the Bull (ancient mosaic from Palestrina, badly preserved). — The Biblio-
theca Barberiniana was sold to the Pope in 1902 (see p. 31)5).

The Via Quattro Fontane ascends the Quirinal, at the top of
which it intersects the "Via Venti Settembre. At the point of inter-
section are the Quattro Fontane (PI. 1, 24), the four fountains after
which the street is named. To the right, in the Via del Quirinale
(p. 177), which leads to the Quirinal, is the small church of San
Carlo or San Carlino, built by Borromini in the most extravagant
baroque style. Straight on, in the direction of Santa Maria Maggiore,
the street descends to the Via Nazionale (p. 174).

The Via Venti Settembee (PI. I, 24, 27, 26), leading to the
N.E. along the ridge of the Quirinal hill to the Porta Pia, derives
its name from the entry of the Italian troops on Sept. 20th, 1870
(p. xxxviii). It is traversed by electric tramways (Nos. 1, 2, 5, and 11
in the Appendix).

The corner-house in this street, to the right, at the Quattro Fon-
tane, is the Palazzo Albani, originally built by Dom. Fontana, and
once inhabited by Cardinal Al. Albani (p. 38J). Farther on, to the
right, is the War Office (1888). — The Vicolo San Niccolb da Tolen-
tino, passing the church of the same name, adorned with 17th cent,
frescoes and sculptures, leads to the left to the Ludovisi quarter
(p. 163).

In the Piazza San Bernardo, which opens on the right, is the
round church of San Bebnaedo (PI. I, 24), originally one of the
corner-halls of the Thermae of Diocletian (p. 167), consecrated in
1600. The vaulting is ancient, and, like the Pantheon, was orig
inally open in the centre.

b. Via Venti Settembre. ROME. I. N. and E. Hills. 165

Opposite, on the other side of the Via Venti Settembre, is the
ancient church of Santa Susanna (PI. I, 24), altered to its present
form in 1600 by C. Maderna. Paintings from the history of St. Su-
sanna (martyred under Diocletian) and of Susanna of the Apocrypha,
by Baldassare Croce and Cesare Nebbia. Adjoining the church
is the United States Embassy and Consulate (p. 139).

Near this point (entrance in the Via Santa Susanna 1) is the
Museo Agrario (PI. I, 24), or Agricultural Museum, open free on
Tues., Thurs., and Sun., 11-4.

Farther on, on the same side of the street, is the church of Santa
Maeia della Victoria (PL I, 24), so called from an image of the
Virgin which is said to have been instrumental in gaining the victory
for the imperial troops at the battle of the 'White Hill' near Prague
(1620), afterwards deposited here, but burned in 1833. The church,
with the exception of the facade, was designed by C. Maderna.

In the 2nd Chapel on the right, an altar-piece (Mary giving the Infant
Christ to St. Francis) and frescoes (the ecstasy and 'stigmata' of St. Francis)
by Domenichino. In the 3rd Chapel on the left, the Trinity by Guercino. In
the left transept is the notorious group of St. Theresa by Bernini, the ex-
ecution of which is masterly, whatever may be thought of the spirit. The
apse was gorgeously restored in 1884 at the cost of Prince Al. Torlonia,
and adorned with frescoes by Serra (Procession after the battle of the
White Hill).

At the opposite corner, whence a short street leads to the Piazza
delle Terme, is the conspicuous Fontanone dell' Acqua Felice
(PI. I, 24), erected by Domenico Fontana under Sixtus V. (Felice
Peretti). The badly-executed Moses, an imitation of Michael Angelo, is
by Prospero Bresciano, who is said to have died of vexation on account
of his failure; at the sides, Aaron and Gideon by Giov. Batt. della
Porta and Flaminio Vacca; in front, four modern lions (antique orig-
inals in the Vatican, p. 360). The Acqua Felice was conducted
hither in 1583 from Colonna in the Alban Mts., a distance of 13 M.

The Via Venti Settembre proceeds, past the Finance Office, built
by Canevari in 1870-77 (behind which is a monument to Silvio
Spaventa, the statesman ; 1822-93), and the statue (by Ferrari) of
Quintino Sella (d. 1884), statesman and several times minister of
finance, to the Porta Pia (p. 388; 15-20 min. from the Quattro
Fontane). To the right, just inside the gate, is the British Embassy
(PI. I, 26), in the former Villa Torlonia.

The Porta Pia (PI. I, 29), famous in the annals of Rome for the
attack of the Italians on Sept. 20th, 1870, was begun from designs
by Michael Angelo in 1564. On the outside, to the left, three mem-
orial tablets, placed in 1871, 1874, and 1895, mark the place where
the breach was made through which the Italians entered the city.
Opposite, in the Corso d'ltalia, rises a Column of Victory (PI. I, 26),
by Aureli and Guastalla. To the right of the gate is the old Porta
Nomentana, walled up since 1564.

From the Porta Pia to SanV Agnese, see p. 388.

166 1, N. and Ji. Hills. KUMJi. c. Thermae of Diocletian.

The road skirting the outside of the city-wall to the right from
the Porta Pia leads in a few minutes to the Castro Pretorio (PI. I,
29, 30, 32, 33), a fortified camp, originally established by Tiberius
for the imperial body-guard of 10,000 men (who were, down to the
time of Aurelian, reinforced by the four 'Cohortes TJrbanae' with their
4000 men). The camp occupies a quadrangular space, 430 yds. long
by 380 yds. wide, and was originally enclosed by a battlemented wall,
12 ft. in height, against which vaulted chambers were built on the
inside. Aurelian included the camp in his fortifications (p. 154) and
doubled the height of the wall. Constantine, who disbanded the
Praetorian guards, destroyed their camp so far as it did not form part
of the town-wall. The Castro, which now contains modern barracks,
is again devoted to military purposes and accessible only by special
permission.

Two of the ancient gates (on the N. side, nearly opposite the 'Officina
Elettrica', and on the E. side), hoth dating from the reign of Tiberius,
are still extant and are good examples of Roman brickwork. The wall
on the S. side was hastily repaired in the early middle ages with blocks
of stone from ancient buildings.

To the E. is the large Policlimca (PI. I, 32, 33), or clinical hos-
pital, a handsome building designed by Gr. Podesti and completed
in 1896, but not yet in use.

In the town-wall at the S.W. angle of the Castro Pretorio is a
Gateway, of the time of Aurelian, the ancient name of which is un-
known. It seems to have been built up in the reign of Honorius. —
Hence to the Porta San Lorenzo (p. 183), 12 minutes.

c. Piazza delle Terme. Via Nazionale. The Quirinal.

On the S. side of the Piazza delle Terme and the adjoining
Piazza dei CiNauECENTO (PI. I, 27) is the Railway Station, con-
structed in 1872. Opposite the arrival-platform begins the wide Via
Cavour, leading to the Piazza dell' Esquilino and the Forum (see
p. 188). — In front of the main facade of the station, which faces
the Thermae of Diocletian, is a Monument to the 500 Italian soldiers
who were surprised and slain at Dogali by the Abyssinians in 1886.
A small obelisk from the temple of Isis (p. 203), found in 1882, has
been incorporated in this monument. — Excavations to the E. of
the station have revealed the most important extant fragment of the
Fortifications of Servius (p. xxx), which consisted here of a rampart
about 100 ft. in breadth and 50 ft. in height. The extant wall, about
40 ft. high, was originally banked up with earth on the inner side.
Near the custodian's hut (reached through the first gateway in the
Via di Porta di San Lorenzo) is a small construction of travertine
and tufa, identified by Prof. Middleton as a 'puteus' or inspection-
shaft on the Anio Vetus aqueduct.

Tramways and Omnibuses, see Appendix.

The Thermse of Diocletian (PI. I, 27), which give name to the
piazza, were the most extensive thfiimaein Rome, and were completed

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c. S. Maria degli Angeli. ROME. /. N. and E. Hills. 107

by Diocletian and his co-regent Maximian in 305-6 A.D. The prin-
cipal building was enclosed by a peribolos, the outline of the round
central portion ('exedra') of -which is preserved by the modern houses
at the beginning of the Via Nazionale (p. 174). The corners were
occupied by circular domed structures, one of which is now the
church of San Bernardo (p. 164"), and another is built into a girls'
school on the Via Viminale. The circumference of the baths is
said to have been about 2000 yds., or half as much again as that of
the Baths of Caracalla (p. 291), and the number of daily bathers
3000. The front faced the E., the exedra being at the back.
Tradition ascribes the execution of the work to condemned Christians,
in memory of whom the church of St. Cyriacus, no longer existing,
was erected here in the 5th century.

Pius IV. entrusted Michael Angelo with the task of adapting
part of the Therma; for a Carthusian Convent. The large vaulted
central hall was accordingly converted into the church of *Santa
Maria degli Angeli (PI. I, 27) in 1563-66. The present transept
was then the nave, the portal was at the end on the right, and the
high-altar on the left. In 1749 Vanvitelli disfigured the church by
converting the nave into the transept and placing the entrance on
the W. side (opposite the fountain, p. 174), where a new facade is
about to be erected.

A small Rotunda is first entered. The first tomb on the right is that of
the painter Carlo Maratta (d. 1713), the first on the left is that of Salvator
Rosa (d. 1673). In the Chapel, Christ appearing to Mary Magdalen, an altar-
piece by Arrigo Fiammingo.

We next enter the great Transept. The niche on the right in the passage
contains an admirable colossal statue of St. Bruno, founder of the Carthu-
sian order, by Houdon (ca. 1760); in the chapel on the left, the Delivery
of the Keys, an excellent altar-piece by Girol. Muziano. The transept
(formerly the nave) is 100 yds. long, 29 yds. wide, and 90 ft. high. Of the
16 columns, each 45 ft. in height, eight are antique, of oriental granite,
which were barbarously white-washed by Vanvitelli, and the others were
built of brick when the church was restored. — Most of the large pictures
were brought from St. Peter's, where they are replaced by copies in mosaic.
In the right half (on the pavement the meridian of Rome, laid down by
Bianchini in 1703): on the right, Crucifixion of St. Peter by Ricciolini; Fall
of Simon Magus, after Franc. Vanni (original in St. Peter's); on the left,
St. Jerome among the hermits, an excellent work by Muziano (landscape
by Bril) ; Miracles of St. Peter , Baglioni. At the narrow end : chapel of
B. Niccolo Albergati. In the left half: on the left, Mass of St. Basil with
the Emperor Valens, Subleyras; Fall of Simon Magus, Pompeo Batoni; on the
right, Immaculate Conception, P Bianchi; Raising of Tabitha, P. C'ostanzi.
At the narrow end : chapel of St. Bruno.

In the Tribune: right, Romanelli, Presentation of the Virgin; Domen-
ichino. Martyrdom of St. Sebastian (painted in oil on the wall); left,
Roncalli, Death of Ananias andSapphira; Maratta, Baptism of Christ. The
choir contains two monumental tombs (1. Pius IV. , r. Ant. Serbelloni),
designed by Michael Angelo.

The remaining parts of the Thermae, formerly occupied by the
Carthusians, now accommodate various charitable and educational
institutions and the —

**Museo Nazionale Bomano delle Terme Diocleziane (Pi. I, 27)

168

/. IV. and a. mus.

KUJ.Vl.tt.

c. museo delle Terme.

The Museum is intended mainly for the reception of antiques dis-
covered on public property within the city-limits, hut its scope has
been enlarged by the addition of the splendid Boncompagni Collec-
tion (p. 172). Frequent alterations are made in the arrangement of
the exhibits. Admission, see pp. 160, 161. The Entrance is by the
door to the right in the corner opposite the railway-station (marked
'Ospizio Margherita per i Poveri Ciechi') and then to the left in the
court (at a in the adjoining plan of the Thermae). Catalogues li/2 fr.
and 30 c. ; comp. Helbig, Antiquities in Rome, vol. ii, pp. 188-263.
We first ascend at the end of the corridor to the —
First Floor. — Room 1. In the centre, Fragment of a Hellenistic
Group, representing the Rape of Oreithyia by Boreas or a Centaur
and a Lapitha; marble vase with reliefs of cranes. On the walls
are some good mosaics (fish and ornamental work), also one (rudely
executed) of a skeleton,
with the legend I\u>ftt
sauxov ('know thyself'),
from a tomb on the Via
Appia. To the right, two
large Pillars with Inscrip-
tions relating to the sacri-
fices and ga-
mes at the
Secular Fes-
tivals of the
city of Rome
(found on the
Tiber , near
the Ponte

Sant' Angelo). Those on the pillar to
the right relate to the games celebrated
under Augustus in B.C. 17, and
mention the 'Carmen Saeculare' com-
posed for the occasion by Horace. The
inscriptions on the other pillar refer
to the festival under Septimius Sev-
erus in 204 A.D. On the left wall by this pillar are the Fasti Prae-
nestini, or lists of officials, which were originally built into the walls
of the curia at Praeneste (p. 428). — To the left of Room I is —
Room 2. Sculptures from the tomb of C. Sulpicius Platorinus,
a man of rank of the time of Augustus, found in 1880 in the garden
of the Villa Farnesina (p. 368; drawing of the monument near the
exit-door): richly decorated marble urns; excellent bust of a girl,
probably Minatia Polla, whose urn (by the window, to the left) was
found in the tomb. This room also contains *Stucco Reliefs from a
Roman house of the early imperial period discovered in the same
garden. These reliefs, from the vaulted ceiling of one of the bed-

e. Museo delle Terme. ROME. I. N. and E. Hills. 169

rooms, depict landscapes and scenes from the cult of Bacchus and
the Orphic mysteries within delicate ornamental borders, all of most
masterly conception and execution.

Boom 3. Fine Bronze Figure of a Man leaning on a staff, with
short incised beard, probably a Hellenistic prince. It was found in
1884 during the building of the Teatro Nazionale (p. 177), as was
also the *Bronze Figure of a Pugilist, evidently represented as con-
versing with a comrade or an umpire, an admirable work of the Hel-
lenistic period. The realism of this repulsive figure extends even
to the marks of injury received in fighting; attention should also be
paid to the accurately reproduced covering of the hand (cestus) of
strong leather bands fastened with metal hooks. Bronze Statue of
Dionysus, apparently a Campanian work of the 3rd cent. B.C. The
colour-effect of the different materials should be noted, the eyes
being of silver, the lips of copper, and the diadem ornamented with
silver and copper. The pendant right hand held a two-handled beaker.
Boom 4. In the middle of the wall opposite the entrance :
*Statue of Apollo, after an original by Phidias in his early period;
to the left, Head of Venus, dating from the time of Praxiteles; *Head
of a girl with a fillet in her hair (Hygieia; end of 5th cent. B.C.) ;
to the right, Head of a boy with long curls; colossal head of As-
klepios (jEsculapius), the god of medicine (copy of a celebrated sta-
tue at Pergamum); to the right of the entrance, Smaller head of the
same; Female Greek Portrait-Head, archaic; Statue of Athena, still
almost archaic in style ; *Female Statue, with delicate drapery, per-
haps Charis, the goddess of grace ; torso of an athlete, after Poly cletus.
Room 5. Admirable Stucco Reliefs from the Roman house near
the Farnesina (see p. 168). In the middle: *Marble Statue of Dio-
nysus from Hadrian's Villa (p. 420), an admirably executed copy of
a Greek bronze original of the 5th cent. B. C. (p. xlvii), but with
a slight tendency to soften the forms.

Room 6. In the centre : **Marble Statue of a Kneeling Youth,
found in Nero's Villa at Subiaco (p. 426), an admirable Greek
original; subject not yet identified. In front of the window : *Head
of a Dying Persian, of the first Pergamenian school (p. li), found on
the Palatine; *Head of a Sleeping Girl. — On the walls are *Paint-
ings on a Black Ground, from the above-mentioned Roman house.
The black panels originally bore fantastic landscapes sketched in
yellow (now traceable at only a few points); above is a coloured
frieze of figures (scenes from a court of justice). — In the adjoin-
ing cabinet (to the left) are fragments of Portrait Statues of Vestal
Virgins, found in the Atrium Ventre (p. 262), all of which have the
characteristic coiffure of their order. The best is the *Half-length
figure opposite the entrance. — A cabinet to the right contains a
Hermaphrodite, the best extant specimen of this type, found in the
peristyle of an ancient mansion, during the building of the Teatro
Costanzi in 1879.

170 1. N. and ej. nan. ftujnu. c. juuseo delle Terme.

Room 7. On the walls are ^Paintings on a Red Ground, from the
above-mentioned Roman house. The paintings on a white ground
(e.g. B 5. Adornment of Aphrodite, and B 4. Genre scenes) recall
the severe archaic style of Greek art in the 5th cent. B. C. ; while
the central painting in B, 4 (Education of Bacchus) corresponds with
the style prevalent when the house was built. The owner of the
house, unable to secure ancient originals, seems to have resorted to
copies instead. In the centre is a glass-case containing glass, orna-
ments and utensils in gold and amber, etc. — To the left is —

Room 8. Paintings on a White Ground; the beautiful female
figure on the exit-wall should be noticed. — In the glass-case :
bronze helmet; sistrum and leaden playthings from the temple of
Venus at Terracina (p. 446; Roman maidens used to dedicate their
playthings to Venus before marriage). Glass vessels.

Room 9. Paintings on a Red Ground. The painter's name
Seleukos is scratched on the piece marked D, 1 (on the second green
column, counted from the right). On the exit-wall is an excellent
Roman portrait-head, of the republican period.

Room 10. Paintings on a White Ground and various other frag-
ments. In the middle, a seated female figure in black marble. —
We now return to Room 7 and turn to the left into —

Room 11. Paintings on a White Ground. Greek portrait heads:
to the right, Socrates; in the corner, Hellenistic post with an ivy-
wreath; in the corner to the left, fine head of a youth in the style
of S'opas.

Room 12. Most of the Mosaics on the walls come from a Roman
villa near Baccano (p. 103): mythological scenes and figures of
Muses. — Busts of Roman Emperors : Nero, Vespasian, Caligula,
Marcus Aurelius, Caracalla (a youthful likeness ; not Geta), the same
in later life, Sabina, Clodius Albiims, Lucius Verus, Gallienus, An-
toninus Pius.

Room 13. Hermse of charioteers. Mosaic representing four charior
teers attired in the colours of the four parties (factiones) of the
circus. In the centre of the room, Statue of a boy, in basalt.

Room 14. Fragments of frescoes. Above, Wall Paintings found
in a coiumbarium of the 1st cent. A.D. near the Porta Maggiore,
with scenes from the stories of y£neas and Romulus, injured by a
fresh coating of stucco in the 3rd cent, when the tomb was brought
into use again. — By the window is a Marble Vase, with scenes in
relief from the Eleusinian mysteries. — We now enter a corri-
dor (15.) containing the ^Treasure found in the Longobardic necro-
polis at Castel Trosino near Ascoli Piceno (7th cent.), consisting of
gold ornaments, weapons, and glass ; also sculptures of the same
period. These ornaments, which show antique patterns and motives
treated in a true northern taste, illustrate the manner in which Ger-
manic artistic feeling and industry were rekindled into activity
during the wanderings of the Germanic tribes on Italian soil. Similar

c. Museo delle Terme. ROME. /. IV. and E. Hills. 171

articles found at Nocera Umbra (p. 126) are also exhibited here. In
the N. wing of this corridor are two glass-cases containing gold coins
(336-474 A. D.), found in a sewer in the Atrium Vesta; (p. 262),
and another containing a treasure of 830 English Coins buried in the
Atrium Vestae in the reign of Pope Marinus II. (942-46) and dis-
covered there in 1893. The coins, sent to Rome as 'Peter's Pence',
bear the stamps of Alfred the Great (871-901), Edward I. (901-24),
Athelstane (924-40), and Edmund 1. (940-46). — We now return
to the staircase and descend to the —

Ground Floor. We pass through the glass-door and enter the
Carthusian Cloisters, constructed after Michael Angelo's designs. We
begin with the West Corridor. The numbers (often indistinct) are
painted in red on the pedestals. 5. Muse seated on a rock, found
in the Stadium on the Palatine; 9. Statuette of Diomede; *23.
Statue of Hera, a replica of a statue closely allied to the so-called
Barberini Juno in the Vatican (p. 352), with details worked entirely
in the later Roman taste of the time of the Antonines, a masterpiece
of technical skill (found in the Stadium on the Palatine); 30. Sta-
tuette of Nike, in the severe style (wings fastened on); 31. Statue
of a supplicant (hands wrongly restored; comp. the so-called Pieta,
in the Vatican, No. 352, p. 354).

North Corridor. Opening off this corridor are a number of the
small dwellings (casette) of the monks (comp. Plan, p. 167), in-
teresting from their arrangements to secure absolute seclusion from
the outer world. They are now used for the purposes of the mu-
seum (closed on Sun.). — Casetta A, used as an office, contains a
seated figure of a goddess, from the Palazzo Giustiniani.

Casetta B. 1st Room. 3. Altar from Ostia : on the front are
Mars, Venus, and Cupid; on the back, the she-wolf with the twins,
shepherds, and the Tiber; on the sides, Cupids with weapons and a
war-chariot. At the window: *Portrait Head of the republican era;
late Roman portrait-heads.

Casetta C and Casetta D. Inscriptions from the Sacred Grove of
the Arval Brotherhood (p. 435), relating to sacrifices, games, prayers,
and vows , from the time of Augustus to that of Gordian III. (241
A.D.). These inscriptions are of great historical importance , as the
emperors and most prominent citizens of Rome were members of
the brotherhood. — Casetta D also contains an '-"Altar from Ostia
(No. 7, Room I), the Tabula Ligurum Baebianorum (R. II), a large
bronze tablet from the neighbourhood of Benevento, with an inscrip-
tion referring to a benevolent institution (alimenta) for poor children,
founded by Trajan (comp. p. 256) ; and monuments illustrating the
cult of Mithras (Room 111).

Casetta E. 1st Room. Fragments of Greek and Roman reliefs;
6. Roman Sacrifice; 8. Two Greek heroes. In front of the window:
*18. Head of a Woman; 20. Votive relief of Zeus, with inscrip-

172 /. N. and E. Hills. ROME. c. Museo delle Terme.

tion. — 2nd Room. 2. Replica of the Hermes in the relief of Orpheus
in the Villa Albani (p. 386) ; 5. Fragment with the figure of the philo-
sopher Anaximander (inscription); 8. Relief of three women; 9.
Prometheus and the eagle; 11. Statuette of a satyr looking at his
tail. — 3rd Room. Half of a * Female Head in a close veil, with por-
trait-features (from an original of the Hellenistic period).

Casetta F. 1st Room. 3, 4. Fragments of two statues of a
Satyr playing the Flute; 7. Torso of a satyr pouring wine from a
flask (after Praxiteles) ; 2. Head of Penelope, a replica of the head
originally belonging to the figure of the so-called Penelope (comp.
p. 353) ; Torso of the Minotaur. — 2nd Room. 13. Statue of Her-
mes; 17. Head of Dionysus (the holes in the forehead are for the
iii5ertion of short horns); 18. Head of a youth (Attic). — 3rd Room.
Torso of a boy (after Polycletus).

Farther on in theN. Corridor: 37. Fragment of a relief represent-
ing the facade of the Temple of Venus and Roma (p. 265), with
Mars and Rhea Silvia in the pediment, to the right, and the she-
wolf with Romulus and Remus, to the left (comp. p. 306). Large
Mosaic of a Nile Landscape, found on the Aventine.

East Corridor. In the centre is a reconstruction of one of the
walls of the Ara Pacts, a sanctuary of the Goddess of Peace, conse-
crated by Augustus (9 B. C), which stood on the site of the present
Palazzo Fiano in the Corso (p. 199). Other fragments of the AraPacis
may be seen here and in the S. Corridor (p. 173) ; at the Vatican
(p. 335), the Villa Medici (p. 159), the Uffizi at Florence, and the
Louvre. — This corridor contains also several interesting sarcophagi;
10. Roman portrait-head of the Republican period ; 25. So-called
Brutus (perhaps Virgil); Roman colossal statue of a woman.

South Corridor. Portrait statue of a Roman jurist (late period).

The next door (left) leads to eight small rooms (comp. Plan,
p. 167), in which the *Museo Boncampagni, the collection of an-
tiques formerly in the Villa Ludovisi (p. 163), finds temporary
accommodation. The collection was founded by Cardinal Ludovico
Ludovisi, a nephew of Gregory XV. (1595-1632), and came by in-
heritance to the princes of Piombino (Boncompagni-Ludovisi). In
1900 it was purchased by the state for 1,400,000 fr. Some of the
chief works (Gaul and his wife; Orestes and Electra) were probably
used as adornments for the Gardens of Sallust (p. 163). The earlier
examples have been restored by Al. Algardi. — Room I. *7. Marble
Throne for a Colossal Statue of Venus (found in 1887), a fine
example of developed archaic art; on the back, which is turned
towards the spectator, is shown the birth of the goddess from the
sea; on the right side is a veiled matron holding an incense-box, and
on the left side the nude figure of a girl playing the flute. 12. Archaic
draped statue of a woman; 33. Archaic Greek Colossal Head of a
Goddess, usually called Hera (5th cent. B. C); it perhaps belonged to
the acrolithic statue (i.e. a statue in which the nude portions were

c. Museo d^ue svrme. nvmr*. 1. N. and E. Hills. 17o

in marble and the drapery iu wood) of Aphrodite from the temple
on Mount Eryx, in Sicily, which was transferred in B.C. 181 to the
Roman temple of Venus Erycina (near the former Villa Ludovisi,
p. 163). 46. Hercules; 62. Theseus. — Room II. (to the right of
Room 1) 10. Greek Portrait-Head (recently identified as Aristotle);
*37. Ares Resting (after Lysippus); the dreamy and pensive pose
of the god is eiplained by the presence of the little god of love;
the group is imperfect on the left side. — Room III. 59. Hermes
as god of eloquence (the right arm is faultily restored, the left hand
held a cadueeus or herald's wand). — Room IV- *4,;5. A Gaul and
his Wife, a colossal group. The Gaul, hard pressed by the foe, has
found time to deal his wife the fatal blow, and now stabs himself
in a mortal part (the right arm is erroneously restored and the hand
should grasp the hilt of the sword from the other side). This group
probably formed the centre of a cycle of statues, the right extremity
of which was occupied by the Dying Gaul in the Capitoline Museum
(p. 246), and of which the bronze originals were placed on the
Acropolis of Pergamum in honour of the victory of Attalus I. (241-
197 B.C. ; comp. p. lii). **86. Head of a Sleeping Erinys (so-called
Medusa Ludovisi). — Room V. **66. Juno Ludovisi, the most
celebrated head of Juno known and certainly one of the most beau-
tiful. Goethe wrote that 'no words can give any idea of it; it is
like a poem by Homer'. The head was not originally intended to
he exhibited alone, but was designed for a colossal statue. The
type corresponds to the ideal elaborated by the later Attic School in
the 4th cent. B.C. 57. Athena Parthenos, the largest and one of
the most faithful copies extant of the celebrated work of Phidias,
executed, according to the inscription, by Antiochos (or Metiochos)
of Athens (about the beginning of the imperial epoch). The statue
has been freely and unskilfully retouched and the arms erroneously
restored (the outstretched right hand held a goddess of victory, and
the left hand rested on the rim of the shield). 31. Colossal bust of
Demeter. — We return to Room I. and enter Room VI. In the
right corner, 32. Satyr pouring Wine, after Praxiteles; instead of a
hunch of grapes, the right hand should hold a pitcher, in the left
should be a drinking-vessel) ; 36. Fine torso of a boy (badly restor-
ed). — Room VII. So-called Group of Orestes and Electrd, prob-
ably from a tomb, according to the inscription by Menelaus,
pupil of Stephanos, of the school of Pasiteles (1st cent. B.C.; comp.
p. liii). — Room VIII. 83. Statue of Antoninus Pius; late Roman
sculptures.

We now return to the S. Corridor. At the end of this is a *Frag-
ment of a relief depicting sacrificial scenes, from the enclosing wall
of the AraPacis(p. 172).

In the Garden in the centre is a collection of architectural and
sculptured fragments, including numerous boundary-stones dating
from the Tiber regulation-works of Augustus , Trajan, and other

174 I. JV. and E. HiTfr: kOME. c Via Nazionale.

emperors. Round the fountain in the middle are seven colossal
heads of animals from a fountain found near Trajan's Forum. The
cypresses are said to have been planted by Michael Angelo.

In the middle of the Piazza delle Terme (PI. I, 27}, opposite
the entrance to Santa Maria degli Angeli (p. 167), is a Fountain, fed
by the Aqua Marcia (p. 392), which sends up a copious and lofty jet
especially conspicuous at night, when the piazza is lighted by elec-
tricity. Surrounding it are four bronze groups of naiads and sea-
monsters, by M. Rutelli (1900). — To the N. is the Grand Hotel,
beyond which, at the corner of the Via Venti Settembre, is the Fonta-
none dell' Acqua Felice (p. 165).

Opposite the entrance of the church of Santa Maria degli Angeli
(p. 167), and intersecting the 'exedra' (p. 167) of the Thermae, runs
the broad Via Nazionale (PI. I, 27 ; II, 24, 20), begun after 1870,
now one of the busiest streets of the city, and during the season
as thronged with passengers and vehicles as the Corso itself (tram-
ways, Nos. 2, 6, & 9, p. 1 of the Appendix). — On the right the
Via Torino leads to San Bernardo (p. 164).

In the Via Nazionale, to the left, stand the Hotel Quirinal and
(farther on) the American Episcopal Church of St. Paul, a Gothic
structure built by Street in 1879, with chimes and a mosaic in the
apse by Sir Edward Burne- Jones. — The most important intersecting
thoroughfare is formed by the Via Quattro Fontane and the Via Agos-
tino Depretis, the former leading on the right to the Pal. Barberini
(p. 163), the latter to the left to Santa Maria Maggiore (p. 180).

To the left in the Via Nazionale, at the end of the Via Genova,
is a fountain by Bom. Fontana, formerly in the Villa Massimi. —
To the right is the small church of San Vitale, founded in the 5th
cent, under Innocent V., on a site considerably lower than the new
street-level. Farther on, on the same side, is the handsome build-
ing of the —

Galleria Nazionale d'Arte Moderna(Pl.II,24), built in 1880-83
by Piacentini, and mostly arranged for exhibitions. The entrance to
the 'Gallery of Modern Art', the largest existing collection of Italian
art of the 19th cent. , is to the left in the vestibule (adm. , see
pp. 150, 151). Director Prof. Jacovacci. We mention a few of the
most important works.

Ground Floor. A small room to the left of the entrance (below
Room 1 of the Plan) contains Sculptures: 59. Cencetti, Innocence;
26. Masini, Fabiola; 43. Ginotti, Euclid as a child; 29. Cecioni,
Mother and child; 39. Belliazzi, Sleeping shepherd-boy (all these in
marble). In the centre : 62. Cifariello, Jesus and Mary Magdalen, a
bronze group. — We now ascend the staircase to the —

First Floor, on which is the Picture Gallery (comp. Plan). —
Room 1. Entrance-wall: historical pictures and oriental scenes by
5. Ussi; back-wall, 85. Gamba, Sea-piece; G. Ferrari, Gethsemane;

c. Via NazionaleT

nuxia,.

I. N. and E. Hills. 175

opposite, 206. Ciseri, Ecce Homo; exit-wall, Sketches by C. Mariani.
— In the adjoining Cabinet (2): 91. Podesti, Triumph of Venus,
an interesting example of Italian art in the middle of the 19th cent-
ury; 11. Death-mask of Canova. — Rooms 3 and 4. Sketches, car-
toons, and paintings by Bernardo Celentano (1835-63). — Rooms 5
and 6. Interesting series (chronologically arranged) of sketches by
the Neapolitan Filippo Palizzi (b. 1813). — Room 7. 65. Taruffini,
Victim of the Nile ; Sciuti, Temple of Venus ; Muzioli, Temple of
Bacchus; Morelli, Last rites; 5. Palizzi, Forest of Fontainebleau. —

^ — — Via, *S~a.ziuiuxlc - >

Rooms 8 and 9: 223. Carlandi, Sunset; 197. Bazzani, Trajan's
Column; 178. Vannutelli, Juliet's funeral. — Rooms 10 und 11:
Watercolours by Faustini and sketches in oil by Barabino ; 217.
Costantini, Village-school. — Corridor: *79. Michetti, Shepherdess.
— Room 12: 14. Michetti, The Vow (scene in a church in the
Abruzzi); *71. Nono, Refugium Peccatorum ; opposite, 105. Fav-
rttto, Loggetta at Venice. — Room 13: Bazzani, "Water-colours and
drawings of the House of the Vettii at Pompeii.

We now return to R. 8 and pass to the right into the Gallery
(14), which contains sculptures, paintings, and engravings. The

176 7. JV. and E. UUU. KOM»: c. Via Nazionale.

staircase (PI. 16) in front descends to the Large Sculptube Room
(below PI. 18): 5. Maccagnani, Boy entering a bath (bronze); 20.
Norfini, Scene in an inundation; *Ximenes, Resurrection ; *75. Vela,
Victims of labour (bronze relief); 68. M. Rutelli, The Wrathful
(from Dante's 'Inferno'; bronze); 74. Rosa, Diana (unfinished);
Parlatore, The Plebeian ; Ercole Rosa, Plaster-cast of the base of
the Victor Emanuel Monument at Milan.

We again ascend the staircase and turn to the left into Rooms 16
and 17: Ricci, Sketches; Ferrari, Female portrait, Reverie; Mentesi,
Fame (triptych). — Room 18: 176. Loiacono, Gulf; *40. Calderini,
Winter; Segantini, Cattle in the mountains. — Room 19: 9. Cal-
derini, Autumn; 195. Sam, Monte Rosa; Vizzotto- Alberti, Peasant-
girl; 64. Castelli, Kingdom of Pan; 104. De Martino, Ironclad 'Le-
panto'. In the middle, 34. Ximenes, The eleven scholars (from 'II
Cuore', by De Amicis). — Room 20: 115. Postiglione, Pier Damiano
and Countess Adelaide of Susa; 237. Sciuti, Roman matrons offer-
ing their jewels for the public service; *82. Simi, Rural Graces
(inspired by Botticelli's 'Spring', at Florence). — Room 21 : Cabianca,
Early morning in Venice, Winter in the Ciociaria ; 67-69. De Nittis,
Races in the Bois de Boulogne. — Room 22. Sartorio, Medusa,
Diana of Ephesus (unfinished) ; Biondi, Roman saturnalia, colossal
bronze group.

The flight of steps at the side of the Galleria and the Via Milano,
the next side-street on the right, both lead to the Quirinal (p. 178).

Farther oil in the Via Nazionale, to the right, is the S. entrance
to the Tunnel (380 yds. long, 16 yds. wide), completed in 1902,
which passes under the Quirinal, affording direct communication
between the Via Nazionale and the Piazza del Popolo (tramway,
see p. 160). At the corner rises the Palazzo Hiiffer. — To the left
are the handsome Banca d'ltalia, built in 1886-94 by Gaet. Koch,
and, farther on, the high-lying gardens of the Villa Aldobrandini.

At the beginning of the Via del Quirinale (p. 179; to the
right) the Via Nazionale expands into the triangular Piazza Mag-
nanapoli (PI. II, 20), in the middle of which, within a railing, is
a fragment of the Servian Wall (p. 166). Another fragment, with
a well-preserved small gateway, has been built into the Pal. Anto-
nelli, on the right (No. 158; staircase on the right of the court). —
To the S., behind the 17th cent, church of Santa Caterina di Siena,
rises the Torre delle Milizie, erected about 1200 by the sons of
Petrus Alexius, also called Torre di Nerone, because Nero is popu-
larly believed to have witnessed the conflagration of Rome from
the top (comp. p. 212). — In the S.E. angle of the little piazza, at
the beginning of the Via Panisperna, is the church of Santi Domenico
e Sisto, with its lofty flight of steps, built by Vincenzo della Greca
about 1640.

The Via Panisperna leads to Santa Maria Maggiore (comp. p. 172). In
this street, to the left, is Sant' Agata in Subura (PI. II, 23) or dei Goti,

c. Piazza del Quirinaie. ROME. I. N. and E. Hills. 177

the ancient church of the Arian Goths, reliuilt in 1633, and now possessing
12 granite columns only of the original edifice. It belongs to a seminary
for Irish priests, and contains the Monument of Daniel O'Connell (1775-1847;
who bequeathed his heart to this church) , with a relief by Benzoni,
erected in 1856. The tomb of John Lascaris, author of the first modern
Greek grammar (d. 1535), is also in this church. — Farther on is the
church of San Lorenzo in Panisperna (p. 180).

The Via Nazionale now descends the slopes of the Quirinal
(95 ft.) in a wide curve. The flight of steps on the left descends
to Trajan's Forum (p. 274). Farther on, to the left, is a medieval
tower of the Colonna, with immured fragments from the Forum of
Trajan. At the next corner, to the left, stands the Wnldensian
Church, and to the right the Teatro Drammatico Nazionale. The
cross-street diverging at this point to the right (N.) is the Via Pi-
lotta (pp. 162, 210), which skirts the rear of the Palazzo Colonna
(p. 210), crosses the small Piazza Pilotta, with the picturesque and
unsymmetrical Pal. Muti-Papazzurri, by Mattia de' Rossi (1644),
and leads to the Fontana di Trevi (p. 161).

The Via Nazionale passes the S. facade of the Pal. Colonna and
then skirts the S. end of the long Piazza di Santi Apostoli (p. 210)
to the Piazza di Venezia (p. 201).

From the Quattro Fontane (p. 164) the Via del Quikinale
(PI. II, 24, 21) leads to the S.W. to the Piazza del Quirinaie. To
the right in the Via del Quirinaie are buildings connected with the
royal palace, known as the Manica Lunga; to the left the church of
Sant' Andrea al Qtjirinale, elliptical in ground-plan, built by
Bernini in 1678 and richly decorated. Farther on is a small public
garden, with a bronze equestrian statue of Carlo Alberto, father of
Victor Emanuel II. , by Romanelli (1900).

At the end of the street, to the right, lies the royal palace, the
chief facade of which is in the Piazza del Quirinale (PI. II, 21).
In the centre of the piazza are a Fountain with an antique granite
basin, erected in 1818 and fed by the Acqua Felice; an Obelisk,
48 ft. high, removed hither from the mausoleum of Augustus (p. 198)
in 1787; and the two colossal marble **Horso Tamers. These ad-
mirable groups, I6V2 ft- high) are works of tQe imperial age, and
once stood in front of the Thermae of Constantine, on the ruins of
which the Palazzo Rospigliosi (p. 178) and other edifices have been
erected. They have never been buried nor concealed from view,
and for centuries the piazza derived its name from them ('Monte
Cavallo'). The inscriptions on the pedestals, Opus Phidiae and Opus
Praxitelis, were prohably first added in a restoration of the Therms
about 450 A.D., though in their present form they date only from
the time of Sixtus V. In the middle ages these were supposed to
be the names of two philosophers, who, having divined the thoughts
of Tiberius, were honoured by the erection of these monuments in
recognition of their wisdom.

Baedeker. Central Italy. 14th Edition. 12

178 I. N. and E. HiW. -«WMeJ ff-falazzo del Quirinale.

The piazza commands a fine view of the town, to the "W., with
the dome of St. Peter's in the background. The Via della Dataria,
reached by descending a flight of steps from the N.W. corner of the
piazza, is continued to the N.W. by the Via San Vincenzo to the
Fontana di Trevi (p. 161), and to the W. by the Via dell' Umilta to
the Corso, near the Palazzo Sciarra (p. 200).

The Regio Palazzo del Quirinale (PI. II, 21) was begun in 1574
under Gregory XIII. and largely added to under subsequent popes,
who frequently occupied it in summer on account of its lofty and
healthful situation. The original architect was Flaminio Ponzio,
among whose successors were Dom. Fontana , Bernini, and Ferd.
Fuga. Since 1870 the palace has been the residence of the king of
Italy, and during his presence a small part only is shown to the public.

Permessi and admission, see pp. 150, 151- — Visitors show their per-
messi to the porter and ascend the wide staircase to the left at the end
of the vestibule. A fine fresco by Melozzo da Forli has been built into
the wall on the landing, representing Christ in a cloud of angels (formerly
in the church of Santi Apostoli, p. 210). — At the top of the staircase
we write our names in a book, and obtain an escort (no fee). Adjacent
to the Sala Regia, with frescoes by Lanfranco and Saraceni, is the Cap-
pella Paolina, erected by Carlo Maderna. and decorated with gilded stucco-
work and copies in grisaille of Raphael's Apostles in Santi Vincenzo ed
Anastasio alle Tre Fontane (p. 399) and with tapestry of the 18th century.
The chapel contains a large number of wreaths and addresses sent by Italians
in all parts of the world on the occasion of Victor Emmanuel II. 's death. —
To the right lies a suite of Drawing Rooms and Reception Rooms, adorned
with pictures and tapestry, chiefly modern. The reception-room of the
ambassadors, beyond the throne-room, contains several portrait of sov-
ereigns and princes. In the 10th room, mosaics on the floor from Hadrian's
Villa (quite concealed by the carpet). In the 14th, a fine ceiling-painting
by Overbeck (1859), to commemorate the flight of Pius IX. in 1848: Christ
eluding the Jews who endeavoured to cast him over a precipice (Luke iv.
28, 29). In the 15th, views from the Vatican. — Towards the garden are
the Royal Guest Chambers. The frieze of the former audience-chamber
here is a cast of Thorvaldseri '» Triumphal Procession of Alexander the
Great, ordered by Napoleon I. for this saloon. After 1815 the original was
removed to the Villa Sommariva, now Carlotta, on the Lake of Como. In
the small Cappella dell' Annunziata is an Annunciation, an altar-piece by
Ouido Rent.

The Garden, which is not shown, was tastefully laid out by C. Madema,

The E. side of the Piazza del Quirinale is occupied by the Consulta,
a palace built by Fuga for the tribunal charged with the internal ad-
ministration of the Papal States ; it is now the Ministry of Foreign
Affairs. — Opposite, Via del Quirinale 15, is the garden of the Pal.
Oolonna(p. 212).

Immediately to the left in the continuation of the Via del Quiri-
nale is the Palazzo Rospigliosi (PI. II, 21), or Pal. Rospigliosi-
Pallavicini, erected in [1603 by Card. Scipio Borghese, nephew of
Paul V., on the ruins of the Thermae of Constantine (p. 177). It
afterwards became the property of the princes Rospigliosi, and now
belongs partly to the princes Pallavicini, who also own the art treas-
ures. The palace (adm. on special introduction only) contains a
beautiful Claude Lorrain (Temple of Venus), etc., but the chief

e. Palazzo Rospigliosi. ROME. I. N. and E. Hills. 179

treasures of art (Galleria Pallayicini) are preserved in an adjoin-
ing building, the CAsrNO Rospigliosi (adm., see pp. 150, 151 ;
25-60 c).

We enter the court by a gate, pass through the door marked 'Galleria''
immediately to the left, and ascend the steps. Along the external wall
of the Casino are placed ancient sarcophagus-reliefs (Emperor hunting,
Procession of Bacchus, Rape of Proserpine, etc.). — By the door to the
right we enter the —

Principal Hall. "Ceiling-painting by Guido Reni: Aurora strewing
flowers before the chariot of the god of the sun, who is surrounded by
dancing Horse, the master's finest work. The colouring deserves special
notice. The strongest light is thrown upon the figure of Apollo, whose
hair and flesh are of golden hue. Of a corresponding tint are the yellowish-
red robes of the nymph nearest to Apollo. The colours are then gradually
shaded off from blue to white, and from green to white, while the dun-
coloured horses accord with the clouds (p. Ixxiv). On the table opposite
the entrance is a mirror, in which the painting may be conveniently in-
spected. — On the frieze, landscapes by Paul Bril, and at the ends of the
room, Triumph of Fama and Cupid (from Petrarch), by Tempesta. Left
wall: 4. Simone da Pesaro, Holy Family; 6. School of Leonardo da Vinci,
St. John. Back-wall : 14. Three antique mural paintings ; 21. Titian (?),
Vanity. — Right wall: 27. Van Dyck, Portrait; Statue of Athena Tritogeneia.

Room on the Right. Opposite the entrance , 43. Domenichino , Fall of
man. Left wall : "36. Lorenzo Lotto, Triumph of Chastity. Right wall :
51. RiberaCl), St. Bartholomew; 52. Luca Signorelli, Holy Family. Entrance •
wall : 55 i. Carracci (?), Samson. — Room to the Left. Entrance-wall :
(right) 100. Guido Reni, Andromeda; 98. N. Poussin, Putto; 99. Portrait of
N. Poussin, a copy of the original in the Louvre; 101. Three small antique
Wall Paintings of putti (two not numbered); no number, Victuria. frag-
ment of an antique Stucco Ornament. On this wall (94-96, 102-10i) and the
two following (60 on the left wall; opposite, 67-69, 73-7 5): Christ and the
Apostles, pictures by Rubens, studio-replicas of the paintings executed by
him in 1603 for Madrid. Wall opposite the entrance: 70. Domenichino,
Triumph of David. Right wall : 82. Palma Giovane, Adam and Eve.

Farther on in the Via del Quirinale, to the right, is the church
of San Silvestbo al Quirinale (PI. II, 21), erected at the begin-
ning of the 16th century.

In the Dome four oval frescoes by Domenichino: David dancing before
the Ark, Solomon and the Queen of Sheba, Judith, Esther and Ahasuerus.
In the 2nd Chapel to the left, two landscapes by Polidoro da Caravaggio
and his assistant Maturino : Betrothal of St. Catharine, and Christ appearing
to Mary Magdalen.

The Via del Quirinale ends at the Via Nazionale (p. 176).

d. From the Via Nazionale to Santa Maria Maggiore and
San Lorenzo fuori le Mura or the Porta Maggiore.

From the intersection (p. 174) of the Via Nazionale and the
Via Quattro Fontane, the S.E. continuation of the latter, the Via
Agostino Deprbtis (PI. I, II, 24), leads directly to the choir of
Santa Maria Maggiore. We turn to the right before reaching the
sloping piazza in front of the latter, enter the Via Urbana, and after
a few paces reach —

Santa Pudenziana (PI. II, 27; open till 9, Sun. till 10 a.m.;
custodian, Via Urbana 161, to be found from 1 to 4), traditionally
the oldest church in Rome, erected on the spot where St. Pudens

12*

180 I, N. and E. Hills. ROME. d. Santa Pudenziana,

(2nd Timothy, IV, 21) and his daughters Praxedis and Pudentiana,
who entertained St. Peter, are said to have lived. The church,
restored as early as the reign of Pope Siricius (384-398), has been
frequently altered, especially in 1588, and has recently been mod-
ernised in very bad taste. In the facade, adorned with modern
mosaics (St. Peter with SS. Pudens and Pudentiana; on the left
Pius I., on the right Gregory VII.), is an ancient portal borne by
columns, which also has been restored. Pleasing campanile of the
9th century.

Intebioe. The nave and aisles are of unequal length. In the pillars
are still to be seen the ancient marble columns which originally supported
the clerestory. The "Mosaics in the Teibune (390 A.D.), Christ with the
Apostles, and St. Praxedis and St. Pudentiana, with a rich architectural
background, and above, the emblems of the Evangelists on each side of the
cross, are among the finest in Rome (p. lx ; several of those on the right are
modern). The Dome above the high-altar was painted by Pomarancio. The
Aisles contain remains of an ancient mosaic pavement. At the extremity
of the left aisle is an altar with relics of the table at which St. Peter is
said first to have read mass. Above it Christ and Peter, a group in marble
by Qiov. Bait, della Porta.

Below the church are ancient vaults in a good style of architecture,
with some mosaic -pavement and a small fresco, which the custodian
shows if desired.

On the summit of the Viminal, not far oft", stands the church of
San Lorenzo in Panisperna (PI. II, 24), on the spot where St. Lawrence is
said to have suffered martyrdom, an old edifice, but frequently restored.
The convent formerly connected with this church is now occupied by the
Reale Istituto Chimico. — Hence to the Via Nazionale, see p. 177.

In the Piazza dell' Esquilino (PI. II, 27), the square in front
of the choir of Santa Maria Maggiore, stands one of the two Obelisks,
48 ft. in height, which formerly rose in front of the mausoleum of
Augustus (the other is on the Quirinal, p. 177). It was erected
here by Sixtus V. in 1587. — The piazza is intersected by the
broad Via Cavour (p. 188).

The facade of the church overlooks the Piazza Santa Maria
Maggiorb, embellished with a handsome Column from the basilica
of Constantine, 16 ft. in circumference, and 46 ft. in height, placed
here and crowned with a bronze figure of the Virgin by Paul V.

** Santa Maria Maggiore (PI. II, 27), also named Basilica Li-
beriana, or Sancta Maria ad Nives, or Sancta Maria ad Praesepe, from
the manger which it contains, is the largest of the eighty churches
in Rome dedicated to the Virgin. It is one of the five patriarchal
churches (p. xxxv), and has a special 'jubilee entrance'. According
to a legend which cannot be traced farther back than the 13th cent.,
the Virgin appeared simultaneously in 352 A. D. to the devout Roman
patrician Johannes and to Pope Liberius in their dreams, command-
ing them to erect a church to her on the spot where they should find
snow on the following morning (5th Aug.). The Basilica Liberiana,
which they are said to have built, was re-erected by Sixtus III.
(432-40), who named the church Sancta Maria Mater Dei, shortly
after the Council of Ephesus had sanctioned this appellation of the

d. S. Maria MaggTofe. ROME. /. N. and E. Hills. 181

Virgin (431). Of this edifice the nave with its ancient marble col-
umns and mosaics is still preserved. In the 12th cent, the church
was farther altered in the medieval style. Eugene III. added a
new porch, Nicholas IV. a new tribune adorned with mosaics, and
Gregory XI. gave the campanile its present form and its pointed
roof. About the end of the 15th cent, began a new period in the
history of the church, when the irregularities of the mediseval ad-
ditions were removed, and symmetrical straight lines were formed
by the erection of accessory buildings and masking walls. The two
large side-chapels, covered with domes, were added by Sixtus V.
in 1586 and Paul V. in 1611. The exterior of the tribune was
remodelled to its present form by Clement X., and the final resto-
ration was entrusted by Benedict XIV. to Fuga.

The Facade was designed by Fuga in 1743 ; the porch has a log-
gia above it, which opens in three arches. The five portals in this
porch correspond with four entrances to the church (the last of
which on the left, the Porta Santa, is now built up) and a blind
door. To the right is a statue of Philip IV. of Spain. The loggia
(staircase to the left in the vestibule ; one of the vergers opens the
door) contains mosaics from an earlier facade, executed about 1300
by Oaddo Gaddi (?) and Philippus Eusuti, restored in 1825.

Above, in the centre, Christ enthroned, on the left the Virgin, SS.
Paul, John, and James ; on the right SS. Peter, Andrew, Philip, and John
the Baptist. Below, on the left, the vision of Pope Liberins and the
Patrician Johannes ; on the right, the meeting of the two, and the tracing
of the site of the church on the snow.

The Interior, dating from the pontificate of Sixtus III., 93 yds. long
and 19 yds. wide, and subsequently enlarged, produces a rich and impos-
ing effect. The pavement of the Nave dates from the middle of the
12th cent. (p. lxii) and the handsome ceiling, presented by Alexander VI.,
has hitherto been ascribed to Giul. da Sangallo; it is richly gilded with
the first gold brought from America. The architrave, adorned with mosaic,
is supported by 40 Ionic columns, 36 in Hymettian marble and 4 in granite,
above which, and on the chancel arch, are "Mosaics of the time of Sixtus III.,
still antique in spirit and interesting in subject (p. lxiii; good light early
in the morning). Those on the arch apparently refer to Mary as the Mother
of God; Annunciation, Infancy of Christ, Slaughter of the Innocents, etc.;
left wall, history of Abraham and Jacob; right wall, Moses and Joshua
(a few of the pictures were restored in 1825). — In front of the chancel
arch is the High Altar, consisting of an ancient basin of porphyry, said to
have been the tomb of the Patrician Johannes, and containing the remains
of St. Matthew and other relics ; the canopy is borne by four columns of
porphyry. Below the high-altar is the richly decorated Confessione di San
Matteo, in which are preserved live boards from the '.->;mta Culla' or 'Cradle
of the Infant Christ'. Between the flights of steps descending to the Con-
fessio is a Kneeling Statue of Pius /A*., by Jacometti. — In the apse of the
Tribune are "Mosaics by Jacobus Torriti (1295) : Coronation of the Virgin,
with saints, near whom are Pope Nicholas IV. and Card. Jac. Colonna
(comp. p. lxiv). The four reliefs by Mino da Fiesole were executed in
1463-64, at the expense of Card. d'Estouteville, for the ciburium over the
aigh-altar. The subjects are the Nativity, the Adoration of the Magi, the
Assumption (with portrait of the cardinal to the right), and the Foundation
of Santa Maria Maggiore.

At the beginning of the nave are the tombs of Nicholas IV. (d. 1292)
on the left, and Clement IX. (d. 1669) on the right, erected by Sixtus V. and

182 I. N. and E, Hilts. mjiviB. d^&tuditorio di Mecenate.

Clement X. respectively. Eight Aisle: First chapel: Baptistery with flue
ancient font of porphyry. Adjacent, to the right, is the Sacristy, with an
altar of the school of Andrea Bregno and further portions of the ciborium
by Mino da Fiesole (see p. 181). — A pillar in the open space to the left
of the baptistery commemorates the conversion to Roman Catholicism of
Henri IV of France. Farther on is the Cappella del Crocilisso with 10
columns of porphyry. — In the Eight Transept is the sumptuous Sixtina
Chapel, constructed by Bom. Fontanel under Sixtus V., and gorgeously re-
stored ; in the niche on the left, an altar-piece (St. Jerome) by Ribera ; on
the right, occupying the whole wall, the monument of Sixtus V., with a
statue of the pope by Valsoldo ; on the left, monument of Pius V. by Leo-
nardo da Sarzana. Over the altar, a canopy in gilded bronze represents
angels bearing the chapel; in the 'Confessio' under the staircase a statue
of San Gaetano, by Bernini, and by the altar a group of the Holy Family,
by Cecchino da Pietrasanta (1480). — At the end of the right aisle, trie
Gothic monument of Card. Consalvi (Gunsalvus, d. 1299), by Johannes Cosmas.
Left Aisle. Tomb of De Levis, composed of two monuments, by a
pupil of Andrea Bregno. 1st Chapel (of the Cesi) : Martyrdom of St. Catharine,
altar-piece by Girol. da Sermonela; on the right and left two recumbent
bronze statues to the memory of cardinals of the family. 2nd Chapel (of the
Pallavicini-Sforza), said to have been designed by Mich. Angelo : Assumption
of Mary, altar-piece by Sermonela. — In the Left Transept, opposite the
Sixtine Chapel, is the Borghese Chapel, constructed by Flaminio Ponzio in
1611, and also covered with a dome. Over the altar, which is gorgeously
decorated with lapis lazuli and agate, is an ancient and miraculous picture
of the Virgin (almost black), painted according to tradition by St. Luke,
which was carried by Gregory I. as early as 590 in solemn procession through
the city. The frescoes in the large arches are by Guido Rent, Lanfranco,
Cigoli, etc. The monuments of the Popes (1.) Paul V. (Caniillo Borghese,
d. 1621) and (r.) Clement VIII. (Aldobrandini, d. 1605) are by pupils of
Bernini. The crypt contains tombs of the Borghese family.

For the neighbouring church of Santa Prassede, see p. 187.

To the S.E. and S. from the Piazza Santa Maria Maggiore run
two important thoroughfares : the Via Carlo Alberto (p. 183) , on
the left, and the Via Merulana (PI. II, 26, 28), on the right, leading
to the Lateran (p. 302; tramway No. 11 in the Appendix).

In the Via Merulana the so-called Auditorio di Mecenate (PI. II, 29),
a building in 'opus reticulatum', was discovered in 1874. The walls were
decorated with paintings, which are now almost obliterated. Outside the S.
and E. walls are seen fragments of the Servian Wall (p. xxx). It is
very doubtful whether the Gardens of Maecenas, which lay between the
Servian Wall and the cemetery of paupers and slaves (remains of its
'puticuli' or well-graves found near the Via Hapoleone Terzo), extended
to this point. It is, however, certain that this building was not a lecture-
hall, but more probably a greenhouse. The antiquities it contains, mainly
from the Esquiline, are of little general interest. Adm. on Thurs., 9-11
and 2-5.

Opposite is the large Palazzo Field-Brancaccio (PI. II, 26), built in
1892-96. Its extensive garden embraces the area of most of Trajan's
TherniEe (comp. p. 18S). — Hence to San Martino ai Monti, see p. 188.

We follow the Via Carlo Alberto. On the left is the church
of Sant' Antonio Ablate, now a hospital, witli a portal of 1269. Sant'
Antonio is the tutelary saint of domestic animals.

The Via San Vito, a cross-street to the right, leads from the Via
Carlo Alberto past the church of Santi Vito e Modesto, with an altar-
piece (fresco) by Antoniazzo Romano (14^3), to the simple Arch of
Gallienus (PI. II, 29). This honorary arch was erected in 262 by a

d. Piazza Vilt. Emanuele. KOME. I. N. and E. HilU. 183

certain M. Amelias Victor, in honour of the Emp. Gallienus, 'ou
account of his bravery, surpassed only by his piety'. Farther on in the
Via San Vito is the Gothic church of Sant' Alfonso de' Liguori, built
by a Mr. Douglas in 1855. St. Alphonso (1696-1787) was the author
of the 'Theologia Moralis' and founder of the Order of the Redemp-
torists. Beyond the Via Merulana are the churches of Santa Prassede
and San Martino ai Monti (pp. 187, 188).

i \ The Via Mazzini and Via Rattazzi lead to the left from the Via
Carlo Alberto to the Piazza Manfredo Fanti (PI. II, 30), adorned
with gardens. A fragment of the wall of Servius is preserved in this
piazza (comp. p. 166).

The Via Carlo Alberto ends at the large Piazza Vittorio Ema-
nuele (PI. II, 29), which also is laid out in attractive gardens.
Here, on the left, are considerable remains of a water-tower of the
Aqua Julia, in the niches of which the so-called Trophies of Marius
(p. 237) stood until 1590. The name Trofei di Mario has been com-
monly but groundlessly in use since the 15th century. On the
adjoining walk (to the left) is the so-called Porta Magica of the
former Villa Palombara. The cabalistic characters on the outside
contain a formula for making gold, communicated in 1680 by a
stranger to the Marchese M. Palombaro, who, however, was unable
to decipher it, and caused it to be carved in marble at the entrance
to his villa, in the hope that some passer-by might be able to solve
the riddle. — At the N. angle of the piazza rises the church of
SanV Eusebio (PI. II, 29), re-erected in the 18th cent., with the ex-
ception of the campanile. The fine ceiling-painting, the transfigura-
tion of St. Eusebius, is one of the earliest works of Raphael Mengs.

About 5 min. to the E. of the Piazza Vittorio Emanuele is the
church of Santa Bibiana (PI. II, 32), consecrated in 470, and re-
built for the last time in 1625 by Bernini. It contains eight antique
columns. On the high-altaT is a statue of St. Bibiana, a restrained
and successful early work of Bernini. To the left by the entrance
is the stump of a column, at which the saint is said to have been
scourged to death.

The street known as the Archi di Santa Bibiana, passing beneath
the railway, leads to the Porta San Lorenzo and the basilica of that
name, which maybe conveniently visited at this juncture. "We may
return in that case by tramway (No. 12 in the Appx.) The tramway
to Tivoli starts outside the gate, to the left (p. 419).

The Porta San Lorenzo (PI. II, 32, 33) stands on^the site of the
ancient Porta Tiburtina, which led to Tivoli. The gateway, con-
structed by the emperor Honorius against an arch, over which,
according to the inscription , passed the three aqueducts Marcia,
Tepula, and Julia, is now shut. The new road starts from an opening
in the wall to the S.E. of the gate, and farther on joins the ancient
Via Tiburtina (p. 419). It is bounded by lofty new buildings, and
does not afford views of the Sabine Mts. until the church is reached,

184 /. A7, and E. Rills. HOME, d 'JS". Luremo fuori le Mura.

3/4 M. from the gate. In the little piazza in front of the church is a
Column with a bronze statue of St. Lawrence.

The basilica of *San Lorenzo fuori le Mura (PI. I, 36) occupies
the spot where Constantine founded a church on the burial-place of
St. Lawrence and St. Cyriaca. In 578 it was rebuilt by Pelagius II.
This ancient edifice, which was entered from the E., was entirely
remodelled by Honorius III. (1216-27), who added the present
nave to the apse, and transferred the facade with the porch to the
W. end. An angle formed by the outer walls shows where the new
part was added. Under Nicholas V. and Innocent X., and lastly
under Pius IX. in 1864-70, the church underwent extensive altera-
tions , and the older half is now at least partly freed from disfigur-
ing patchwork. San Lorenzo is a patriarchal church, and one of the
seven pilgrimage-churches of Koine (p. xxxv).

In 1864 the Facade was embellished with paintings resem-
bling mosaic , on a gold ground, representing the founders and
patrons of the church: Pelagius II., the Emp. Constantine, Ho-
norius III., Pius IX., Sixtus III., and Hadrian I. The vestibule is
borne by six ancient columns, above which is an architrave with mo-
saics(St. Lawrence and Honorius III.); it contains retouched frescoes
(end of the 13th cent.), two tombs in the form of temples, and two
rude early-Christian sarcophagi. The door-posts rest on lions.

The Interior consists of two parts. The anterior Later Church, which
chiefly dates from Honorius III. , consists of nave and aisles , separated
by 22 antique granite and cipollino columns of various sizes. On the
capital of the 8th column on the right are a frog and a lizard, and it
is therefore supposed, but without authority, to have been brought from
the porticus of Octavia, where two sculptors Batrachus (frog) and Saurus
(lizard) are said to have adopted this method of perpetuating their names.
The wall above the straight entablature is adorned with frescoes by G. Frac-
cassini (d. 18tf8) : on the right, history of St. Lawrence ; on the left, that of
St. Stephen. The open roof also was recently gaudily painted. The rich
pavement, in opus Alexandrinum, dates from the 13th cent. (p. lxii). Under
a mediaeval canopy to the right of the entrance is an ancient Sarcophagus
with a representation of a wedding, in which in 1256 the remains of Card.
Fieschi, nephew of Innocent IV., were placed. To the left are old frescoes
of the life of St. Lawrence. In the nave are the two elevated amhones, that
to the right (p. lx) for the gospel, near which is a spiral candelabrum for
the Easter candle, that to the left for the epistle (12th cent.). On the
triumphal arch are modern paintings (resembling mosaics) of the Madonna
and saints. At the extremity of the N. aisle a flight of 13 steps, on the
left, descends to a chapel and the catacombs.

Adjoining this building of Honorius on the E. is the Older Church,
erected by Pelagius, the pavement of which lies about 10 ft. lower. The raised
central space, to which seven steps ascend on each side of the Confessio,
dates from the time of Honorius, who converted the nave of the older church
into a choir with a crypt by laying a pavement halfway up the columns,
and caused the aisles to be filled up. The rubbish was removed in 1870 and
the original level of the aisles exposed to view. The church of Pelagius, a
basilica in the style of Sant1 Agnese Fuori (which is the only other church
at Rome with galleries), was originally entered at the opposite (E.) end.
Twelve magnificent fluted columns of pavonazzetto with Corinthian capitals
(those of the two first are formed of trophies, on the benches in front of
them are mediaeval lions) support the straight entablature, which consists of
antique fragments and bears a gallery with graceful smaller columns and

d. Campo VeranlT. KUMfcJ. i. N. and E. Hills. 18o

arches. On the triumphal arch, of which this is the original front , are
restored mosaics of the time of Pelagius II. (578-590; the earliest showing
traces of the influence of the E. empire) : Christ, right SS. Peter, Lawrence,
and Pelagius ; left SS. Paul, Stephen, and Hippolytus. The canopy dates from
1148; its dome is modern. By the wall at the back is the handsome
episcopal throne (1251). — We now descend the flight of steps from the
prolongation of the aisle of the anterior church and reach the aisles of the
church of Pelagius. The nave of the old churdli is now partly occupied
by the crypt, entered from above, partly by the modern marble columns
supporting the floor of the above-mentioned choir. In the vestibule of the
original church, behind an iron railing, is the Tomb of Pius IX. (p. xliii).
The vestibule is gorgeously decorated with mosaics, from designs by L. Seitz,
but the tomb itself, according to the injunctions of the deceased pope, is
of the plainest character, consisting of a marble sarcophagus in a niche
painted like those in the catacombs.

The handsome Eomanesque Cloisters (Chiostro; generally closed) contain
numerous fragments of sculptures and inscriptions built into the walls ; in
the corner to the right of the principal entrance is the lid of a sarcophagus
adorned with a representation of the Pompa Circensis.

Adjoining the church is the Campo Verano , an extensive cem-
etery, opened in 1837, and repeatedly enlarged since. By the entrance
are colossal figures of Silence, Charity, Hope, and Meditation. Among
the numerous handsome monuments is one commemorating the
Battle of Mentana (p. 97), with appropriate inscriptions. Fine view
of the mountains and the Campagna from the higher part of the
cemetery, reached "by several flights of steps.

The Viale Peincipessa Maegheeita (PI. II, 30, 32) leads from
Santa Bibiana (p. 183) to the N.W. to the Piazza Ouglielmo Pepe
(with remains of the above-mentioned Aqua Julia) and the (10 ruin.)
Railway Station (p. 166). To the S.E. it leads in 5 min. to the so-
called Temple of Mineeva Medica (PI. II, 32), the ruin of an ancient
Nymphfeum in the form of a decagon, 55 yds. in circumference,
with deep niches in the walls, and originally covered with marble
below and stucco above. In the middle ages the ruin was called Le
Galluzze, a name which has been conjectured to be a corruption of
(the Therms of) 'Gaius and Lucius Ctesar' , of whose existence,
however, there is no other hint. The vaulting existed down to 1828.
This interesting building dates from the imperial period.

The Via Conte Verde, the middle street running from the S.E.
side of the Piazza Vittorio Emanuele, leads to the church of Santa
Croce in Gerusalemme (p. 186); the Via Emanuele Filiberto, the
street to the right, leads to the Lateran (p. 302) ; and the Via
Principe Etjgenio, on the left, to the Porta Maggiore.

The Porta Maggiore (PI. II , 34) was originally an archway
belonging to the Aqua Claudia, above which the Anio Novus flowed
through a second conduit. The Aqua Claudia, 42 M. in length, brought
water from the neighbourhood of Subiaco (p. 426), and the Anio
Novus from the sources of the river of that name, a distance of 51 M.
The inscriptions record the construction of both aqueducts by the
Emp. Claudius, A.D. 52, and also their restoration by Vespasian

186 I. N. and E. Hills. ROM«. —ftrg.^fbce in Oerusalemme.

in 71, and by Titus in 81. Aurelian converted the monument into
one of the gates of his city-wall, and Honorius restored and extended
it ; while the Colonnas used it in the middle ages as the nucleus of
a castle. Remains of the constructions of Honorius and a long in-
scription of 405 A.D. may be seen outside the gate, to the right.
The gate was purged af the later additions by Gregory XVI.

Two roads diverged hence in antiquity : to the left the Via Prae-
nestina, and to the right the Via Labicana, now named Via Casilina.
Between these, outside the gate, was discovered in 1838 the remark-
able Monument of the Baker Eurysaces, erected in imitation of knead-
ing-bowls and grain-measures laid in alternate rows.

The monument, dating from the close of the republic, was erected by
the baker himself ; and the principal inscription, thrice repeated, is to the
effect that — 'This is the monument of Marcus Vergilius Eurysaces, baker
and public purveyor of bread.' Some of the reliefs represent grinding,
baking, and other processes in his trade, and others refer to his post of
purveyor to the state.

From this point to the Arnphitheatrum Castrense and the Porta
San Giovanni, see pp. 312, 311 ; to the Campagna, see p. 390.

From the Porta Maggiore a road leads to (5 min.) Santa Croce in
Gerusalemme, passing under the arches of the Olaudian aqueduct, and
skirting the town-wall on the inside. — From Santa Maria Maggiore
(p. 180") to this church by the ViaConte Verdeis awalk of 20 minutes.

Santa Croce in Gerusalemme (PL II, 34), one of the seven pil-
grimage-churches, once named Basilica Sessoriana, because the
Sessorium, perhaps an ancient court of law, formerly stood here, is
said to have been erected by St. Helena in honour of her discovery
of the Cross. As early as 433 a Council met here. The church was
rebuilt by Lucius II. in 1 144, and was modernised under Benedict XIV.
in 1743, by Oregorini, who added the baToque facade.

Interior. The nave was originally borne by 12 antique columns of
granite, of which 8 only are now visible. An ancient sarcophagus of basalt
below the high-altar contains the relics of SS. Anastasius and Csesarius.
In the tribune are modernised frescoes of the Invention of the Cross, of
the school of Pinturicchio. The church contains numerous relics, including
the 'Inscription on the Cross'.

To the left of the tribune a staircase descends to the Crypt, where on the
left is an altar with a marble relief (Pieta; 17th cent.); at the sides are
statuettes of SS. Peter and Paul of the 12th century. On the right the chapel
of St. Helena (to which ladies are admitted on 20th March only). On the
vaulting are fine Mosaics, after Bald. Peruzzi, representing the Four Evan-
gelists. In the centre, Christ. In the arch over the entrance, on the left
St. Helena, right St. Sylvester; over the altar, on the left St. Peter, on the
right St. Paul. The hody of the altar-statue of St. Helena belonged to an
ancient statue resembling the Barberini Juno in the Vatican (p. 352), with
a cross for the sceptre in the right hand, and a nail of the cross for the
vase in the left. The head also is modern (17th cent.).

The Cistercian monastery formerly belonging to the church is now
used as a barrack. — On the other side of Santa Croce is an apse with
arched windows and the beginning of adjoining walls, perhaps relics
of the Sessorium mentioned above.

From Santa Croce to the Lateran is a walk of 5 min. (p. 311).

e. Santa PraSSfSe. KtflME. I. N. and E. Hills. 187

e. From Santa Maria Maggiore to the Forum Komanum.

The Via Cavour (p. 188) is the most direct route from Santa Maria
Maggiore to the Forum Romanum. We follow the small Via Santa
Prassede, leading to the S. from the Piazza Santa Maria Maggiore
(p. 180), in which is a side-entrance to the church of —

*Santa Prassede (PI. II, 26), mentioned as early as 491, erected
by Paschalis I. in 822, and dedicated to St. Praxedis, the daughter
of St. Pudens with whom Peter lodged at Rome (p. 180). It was
restored about 1450 by Nicholas V., again in 11532, and finally
(though not very successfully) in 1869.

Interior. The nave is separated from the aisles by 16 granite columns
(six others, bearing arches, having been replaced by piers). The Mosaics
(9th cent.; p. lxi) deserve notice. On the triumphal arch the New Jeru-
salem guarded by angels, Christ in the centre, with angels on each side;
on the arch of the tribune the Lamb, at the sides the seven candlesticks
and the symbols of the Evangelists; lower down the twenty-four elders
(in order to follow the curve of the arch, the arms of the foremost elders
in the middle and upper rows gradually increase in length) ; in the round
part of the apse, Christ surrounded with saints (on the right Paul, Praxedis,
and Pope Paschalis with the church; on the left Peter, Pudentiana, and
Zeno). On either side of the tribune are galleries. — Right Aisle. The
3rd chapel is the Chapel of St. Zeno (ladies admitted on the Sundays in Lent
only; the sacristan opens the door when desired). At the entrance are two
columns of black granite with ancient entablature. Above are mosaics
(9th cent.): Christ and the Apostles, the Madonna, SS. Lawrence and
Stephen, and eight holy women ; the figures of the two popes, to the right
and left below, are additions probably of the 13th century. On the vaulting
in the interior, a medallion with the head of Christ, supported by four angels.
Above the altar a Madonna between SS. Praxedis and Pudentiana. The niche
to the right contains the column at which Christ is said to have been
scourged. Above the niche to the left are four female portraits, the first,
with a square nimhus, beint; named Theodora Episcopa (Theodora, mother
of Paschalis I., was buried in this chapel). The 4th chapel contains the
tomb of Card. Alanus (d. 1474), by Andrea Bregno. At the extremity of
the right aisle the Cap. del Crociflsso contains the tomb of the French
cardinal Ancherus (d. 1286). — In the Left Aisle by the entrance-wall is a
stone slab, on which St. Praxedis is said to have slept. The 2nd Cap. di
San Carlo Borromeo contains a chair and table once used by the saint. The
3rd Cap. Olgiati contains paintings by the Cavaliere d'Arpino. — The marble
top of a well in the nave indicates the spot where St. Praxedis buried
the bones of martyrs.

The Confessio (keys kept by the sacristan) contains ancient sarcophagi
with the bones of the sister-saints Praxedis and Pudentiana on the right,
and those of martyrs on the left. The altar is decorated with fine mosaics
of the 13th century. Above it an ancient fresco of the Madonna between the
sisters. — The Sacristy, at the end of the left aisle, contains a Scourg-
ing by Giulio Romano.

The former main entrance of Santa Prassede is in the Via San
Mabtino ai Monti, on the S. side of the church, a side-street diverg-
ing from the Via Merulana (p. 182) not far from the church of Sant'
Alfonso de' Liguori (p. 183). In this street, to the right, a tablet
marks the house (No. 20) in which Domenichino lived. The Via
San Martino ends at the Via dello Statuto , which begins at the
Piazza Vittorio Emanuele (p. 183) and is continued by the Via
Giovanni Lanza (p. 188) to the "YV. as far as the Via Cavour. In

188 I. N. and E. Hills. ROME. e. ><an Martino ai Monti.

the open space at 'the end of the Via San Martino stand two mediae-
val towers: the Torre Cantarelli (right) and the Torre dei Capocci
(left). The latter belonged about 1500 to Vanozza Borgia, mother
of Alexander VI. A short flight of steps ascends to the church of —

San Martino ai Monti (PI. II, 26), erected by Symmachus about
the year 500, adjacent to the Baths of Trajan and to an old church of
Pope Sylvester I. It was rebuilt in 844 by SergiusII. and Leo IV.,
gorgeously modernised about 1650, and again restored quite recently.

The Interior, a basilica with a roof of straight beams, contains 24
antique marble columns. In the S. aisle are six fine frescoes by Gasp. Pous-
sin. landscapes with scenes from the life of Elijah, the patron of the order
of Carmelites (marred by restoration). In the N. aisle six smaller landscapes,
also interesting. Also two pictures representing the interior of the old
churches of the Lateran and of St. Peter. — The Presbyterium is eleven
steps higher ; below is the Crypt. From the latter we enter a large vault,
probably once belonging to thermse, but at an early period converted into
a church. The vaulting bears traces of ancient painting. This is supposed
to be the site of Pope Sylvester's church, of the period of Constantine.

From the S. side of San Martino ai Monti the Via delle Sette Sale
runs to San Pietro in Vincoli. This street derives its name from the
Sette Sale (PI. II, 26), seven, or rather nine, parallel vaulted chambers
on the top of the Esquiline, which appear to have been used as
reservoirs for the Thermae of Trajan (p. 271); visitors ring at door
No. 11 the gardener's house of the Pal. Field-Brancaccio (p. 182).

The wide Via Cavour (PI. II, 27, 26, 23 ; tramway No. 1 in the
Appx.), beginning at the railway-station, crosses the Piazza delt
Esquilino (PI. II, 27; p. 180), and after being joined by the Via
Giovanni Lanza (p. 187 ; tramway No. 3), bends to the W. and leads
direct to the Forum Romanum (p. 250). On the left, above the street,
is the church of San Francesco di Paola and on the right, farther on,
rises the Tor de' Conti (p. 273; comp. Plan, p. 270).

A flight of steps beside San Francesco di Paola leads up from the
Via Cavour through an archway to the piazza in front of San Pietro
in Vincoli (150 ft. above the sea-level). The old Franciscan mon-
astery on the N. side of the piazza is now the Reale Istituto Tecnico.
To the W. rises a medical tower, beside which is a fine palm-tree.
— The church of —

*San Pietro in Vincoli (PI. II, 23) is also named Basilica Eudoxi-
ana after Eudoxia, wife of Valentinian III., who founded the church
about the year 442, as a receptacle for the chains of St. Peter which
had been presented by her to Pope Leo I. It was restored by Pela-
gius I. and Hadrian I. ; the vestibule is a work of the early Renais-
sance, and was the gift of the Rovere, who for some decades mono-
polized the cardinal's title connected with this church. Admission
before 11 a.m. (Sun. till after 12) and after 3 p.m. ; at other times
visitors ring at the adjacent door to the left, No. 4 (1/2 fr.).

Interior. The nave and aisles are separated by 20 antique Doric
columns. To the left of the entrance, by the pillar, is the monument of
the Florentine painters Pietro and Antonio Pollajuolo (d. 1498). The fresco

e. $. Pietro irT Vmcm. KOTTB: I. N. and E. Hills. 189

above it, a votive picture given by Sixtus IV. as a protection against the
plague of 147ii, is probably from the studio of Antoniazzo Romano. —
The Left Aisle contains, on the pavement and wall, the monument (in the
corner) of the learned Card. Nicolaus (Jusanus (trom Cues on the Moselle,
d. 1464). Above it a relief: St. Peter with keys and chains, on the left the
donor (Nic. Cusanus), right an angel, a good early work by Andrea Bregno.
The marble slab in the floor, by Jacopo Sansovino , marks the tomb of
Card. Leon. Grosso della Rovere (d. 1520j. On the 2nd altar to the left, a
mosaic of the 7th cent, with St. Sebastian (bearded). — In the Right Tran-
sept is the monument of Pope Julius II. (p. lxvi) by Michael Angelo, with
the ""Statue of Moses, represented as on the point of springing from his
seat, in indignation at the idolatry of the Jews, or (according to a later inter-
pretation), summoning'the twelve tribes of Israel together in order to bid
them farewell. (Moses is here represented with horns owing to an erroneous
translation in the Vulgate of Exodus xxxiv. 35). This is one of Michael
Angelo's most famous and most characteristic works; he has sacrificed
details in order to bring the total effect into more doiv mating prominence.
The proportions of the ligure are inexact; the small head, the powerful
arms, and the gigantic torso are certainly out of harmony, while the robe
hangs from the celebrated knee in quite impossible folds. But all the
same the general effect is most imposing. Besides the Moses, the statues
of Rachel and Leah (as symbols, on the left of meditative, on the right
of active life) alone were executed by the great master , and even these
were not entirely his own workmanship. These figures are an allusion
to the complaint of St. Gregory after he was elected pope that his life in-
stead of being the beautiful Rachel whom he sought was the more fruitful
Leah (comp. Dante, Purg. xxvu. 108). The grouping only of the remainder
was from Michael Angelo's design. The figure of the pope (who is not interred
here, comp. p. 324), by Maso del Bosco, is a failure ; the prophet and the sibyl
at the side are by Raf. da Montelupo. — To the right of the choir is St. Mar-
garet, an altar-piece by Guercino.

The Choir contains an ancient marble seat from a bath, converted
into an episcopal throne. A cabinet under the high-altar, with bronze
doors (1477) attributed to Ant. Filarete, was presented by Sixtus IV. and his
nephew Giuliano, and contains the chains of St. Peter, which are exhibited
to the pious on August 1st.

The adjacent monastery of the Canonioi Regolari is now the seat
of the physical and mathematical faculty of the university. The
monastery-court, by Qiuliano da Sangallo , is embellished with a
fountain, presented in 1513 by Leon. Grosso della Rovere (entrance
by No. 5, to the right of the church).

From the "Via di San Pietro in Vincoli, which descends hence to
the S.W., the continuation of the Via dei Serpenti leads to the
Colosseum (PI. II, 23, 22 ; p. 266).

f. The Villa Borghese. Villa di Papa Giulio.

A visit to the Villa Borghese is altractive not only on account of the
beautiful park, but also on account of the art-gallery now preserved in
the casino, which, though many masterpieces have been removed, still
ranks as one of the most important collections in Borne. The park is
open to the public daily from 9 till dusk (free). Besides the principal
entrance near the Porta del Popolo (PI. I, 16), there is another near the
Porta Pinciana (PI. I, 20, 23). Admission to the Casino, see pp. 150, 151. —
The antiquities in the Villa di Papa Oiulio (p. 196) are also well worth a visit.

The Villa Borghese extends to the N. of the city, immediately
outside the walls. The principal (W.) entrance is to the right, just
outside the Porta del Popolo (PI. I, 16; p. 155); a small horse-

190 I N. and E. Hills. ROME. f. Villa Borghese.

tramway (10 c.) plies thence to the Giardino del Lago (see below).
The E. entrance is just outside the Porta Pinciana (PI. I, 20, 23 ;
p. 163).

The *Villa Borghese (PL I, 16, 19, 20, 22) was founded in the
first halt' of the 17th cent, by Cardinal Scipio Borghese, nephew of
Pius V. , and afterwards enlarged by the addition of the Giustiniani
gardens. Purchased by the state for 3 million francs in 1902, the
Villa Comunale Vmberto Primo, as it is now officially called, was
transferred to the city of Rome. King Victor Emanuel III. intends to
erect an equestrian statue of his father Humbert in the grounds,
which are to be connected with the Pincio (p. 158) by a bridge.
The beautiful grounds contain a number of ornamental erections,
small temples, artificial ruins, fountains, antique statues, inscrip-
tions, etc., the more important of which are marked on our plan.
Near the W. entrance are the remains of the so-called Villa of
Raphael (destroyed in the war of 1849); farther up, to the right
of a fountain with a statue of /Esculapius, a large Gateway in the
Egyptian style ; to the left is the Oiardino del Lago, formerly the
private garden of the prince. — In the E. part of the grounds, to
the right of the entrance near the Porta Pinciana, is an arch with
a Statue of Apollo. To the left is a dairy. — In the N. part of the
■villa are the so-called Mediaeval Castle and an imitation of the Temple
of Faustina (p. 263).

The Casino (PI. I, 22) of the Villa Borghese, which was rebuilt
by Marcantonio Borghese in 1782 (view of its 17th cent, appearance,
see p. 193), contains a collection of sculptures in the rooms of the
groundfloor (indicated by Roman numerals on the annexed plan),
while those of the upper floor (Arabic numerals) contain the im-
portant picture gallery removed from the Palazzo Borghese (p. 213).
The decorations are partly by Gavin Hamilton , David Moore, and
J. P. Hackaert. Both collections were purchased by the state in
1901. Illustrated catalogue by Venturi (1893) 1 1/2 fr., bound 2 fr. ;
director, Signor Piancastelli. Admission, see pp. 150, 151; rooms
closed on Sun., see p. 193.

The Borghese Collection of Antiques was founded about 1820
to replace an earlier collection purchased by Napoleon I. and sent
to the Louvre. It consists largely of objects discovered on the
Borghese estates. Oomp. Helbig , Antiquities in Rome, vol. ii,
pp. 129-160.

I. Vestibule ('Atrio'). On the narrow walls : vn. (1.) and xxv.
(r.), and on the back-wall, x. three reliefs from a triumphal arch of
Claudius that once stood in the Corso near the Palazzo Sciarra,
erected, according to an inscription, inA.D. 51-52 by the senate and
people in memory of the victories in Britain. — To the left tin.
Torso of Pallas, a copy of the Parthenos of Phidias (p. xlvii).

II. Saloon ('Salone'), with ceiling -painting by Mario Rossi.

f. Villa VorgheK. KUME. /. N. and E. Hills, 191

On the floor, mosaics, discovered near Torre Nuova, with gladiatorial
and wild beast combats. Left wall : xxxvi. Dancing Faun (largely-
restored), under it a delicately worked Bacchic "relief. Longi wall :
xl. Meleager; xxxrx. Augustus; vil. Statue of a woman; below,
Roman tombstone. Right wall: i. Antoninus Pius (colossal bust).
il. Colossal Dionysus; below, slab with Bacchic relief, belonging to
the same work as the fragments under xxxvi and over the door in
the back wall. The body of the horse is the only antique portion of
the alto-relief of a horseman above the latter.

III. Room (first to the right). In the centre, *Canova, Pauline
Borghese, sister of Napoleon I., as Venus (1805). Entrance-wall : lxxi.
Tomb-relief, executed about the time of Hadrian under the influence
of Greek models. On the opposite wall : *lxiv. Ajax the Younger
tearing Cassandra from the Palladium (relief). — Paintings : Dosso
Dosti, Apollo ; Caravaggio, David with the head of Goliath.

IV. Room. In the centre, David with the sling, a youthful work
by Bernini. Entrance- wall : lxxviii. Hermes of Pan; i/xxix. Front of
a sarcophagus, with the labours

of Hercules (back of the sarco-
phagus opposite, No. vc). Upon
it, lxxx. Lid of another sarco-
phagus, with relief of Penthe-
silea and her Amazons coming
to aid the Trojans after the
death of Hector. Rear-wall :
lxxxv. So-called Sappho. Upon
No. in c : Sarcophagus-relief,
with the history of Leto ; to the

left, the goddess in her wanderings, with the local deities of Delos; in
the centre Zeus with the infants Apollo and Artemis ; to the right,
assembly of the gods. — On the rear-wall : 7. Padovanino, Venus.

V. Room. In the centre, Apollo and Daphne, a much admired
work of Bernini, executed in his 18th year (1616). Right wall:
cxvn. Apollo with a griffin and tripod, an archaistic work ; cxvi.
Three-sided base, with Mercury, Venus, and Bacchus. "Wall oppo-
site the entrance : cxv. Statuette of a boy playing with a bird ; cxin.
Statuette of a fettered boy. Exit wall : cvn. Fisherman and herds-
men, a genre group, intended for the decoration of a fountain.

VI. Room ('Galleria') with modern porphyry busts of emperors.
In the centre, a porphyry bath said to have been found in the mau-
soleum of Hadrian. In the doorway to the Salone is a beautiful
antique vessel of ophite, the only specimen of the kind in Rome.
The marble incrustation of the walls deserves notice. The statues
in the recesses are for the most part mediocre and freely restored.
The hermes of Bacchus, a bronze head with a beautiful alabaster ped-
estal, at the exit, is modern.

192 /. N. and E. hills. HUME'. f. Villa Borghese.

VII. Room. To the right : clxxxi. Archaic female bust, perhaps a
portrait. By the window to the right, clxxvii. Torso of Venus with
Cupid. To the left, clxxvi. Modern copy of the 'Thorn Extractor'.
Exit- wall: clxxii. Sleeping hermaphrodite.

VIII. Room. In the centre, Bernini, .(Eneas and Anchises, the
first large work of the artist, then in his 15th year (1613). By the
entrance, cic. ^Esculapius and Telesphorus, gods of healing. Right
wall: cviio. Leda and the swan. Opposite the entrance, clxxxviii.
Late-Roman tombstone. Exit-wall : cxxxxrv. Algardi (?), Putti in
relief; clxxxiii. Athena.

IX. Room. In the centre, cc. Satyr on a Dolphin (fountain-
figure), the model of the Jonah in Santa Maria del Popolo formerly
ascribed to Raphael (p. 157). Entrance-wall: cci. Youthful Maenad ;
ccni. Paris. Exit-wall: ccxv. Venus; ccxvi. Archaic female figure,
a Greek original work.

X. Room. In the centre, *ccxxv. Dancing Satyr, wrongly restored
(he originally played on a double flute). Opposite the entrance,
ccxxxvii. Seated figure of a philosopher, resembling the Menander
in the Vatican (p. 353). Exit-wall : ccxxxn. Satyr resting, after
Praxiteles. Fine ceiling-paintings by Conca.

We now return to the Galleria (R. VI) and ascend the staircase
to the —

**Pieture Gallery, the rooms of which are marked on our plan
with Arabic figures. Next to the Vatican , the Borghese gallery
contains more masterpieces than any collection in Rome, and this
in spite of the recent removal of several of its treasures. The
15th Century is naturally less fully represented than subsequent
epochs, as the gallery was founded at a time when the works of that
period were not yet generally appreciated. It contains, however,
some admirable works of the end of the century, such as Lorenzo
di Credi's Madonna with the flower-glass (I. Room, No. 433). — The
Milanese School op Leonardo da Vinci has numerous represen-
tatives, though the authenticity of most of the examples may be
doubted. The best are Christ imparting his blessing, a small work
by Marco da Oggiono (I, 435), and Christ bearing the Cross, by
Solario (I, 461). — Among painters of the older North Italian
School, Francesco Francia enjoys a high reputation, and his claim
to it is amply vindicated by his St. Stephen (V, 65), a small
kneeling figure in the red robe of a deacon.

Among the works ascribed to Raphael, the Entombment (IV,
369) alone is authentic. The picture is not well preserved, and
is perhaps not entirely by Raphael's own hand. The impression
produced by it is disappointing, the composition seems too studied,
and the colouring cold (p. lxviii). The predelle belonging to it are
in the Vatican (p. 344). The so-called Fornarina (IV, 355), the
Madonna di Casa a" Alba (I, 424) and the Pope Julius II. (IV, 413)
are copies. The IX. Hoom contains several Frescoes transferred

f. Villa Borgnmm ROME. I. N. and E. Hills. 193

hither from the so-called Villa of Raphael (p. 190), and ascribed
to that master; but they are unlike his workmanship, both in
composition and execution.

The School of Ferrara of the 16th cent, is copiously and
well represented (Room VII). A fine example of Mazzolino' s rich-
ness of colouring is his Adoration of the Magi (VII, 218). Dosso
Dossi's Circe (VII, 217) conducts us into a world of fancy, similar
to that depicted by Ariosto in his Orlando. Lastly there are sev-
eral excellent works by Oarofalo, the Raphael of Ferrara.

The CoLouMSTS of the 16th Cent, will not fail to attract the
visitor. To Sodoma the gallery is indebted for a Pieta (I, 462) and
a Holy Family (I, 459), in which the head of the Madonna is radiant
with beauty. An important work by Correggio, acquired in 1824,
represents Danae with Cupids sharpening their arrows (X, 125).
The figure of Danae is rather graceful than strictly beautiful, but
the Cupids are very charming, and the chiaroscuro masterly. —
A room is devoted to the Venetian School. Titian's so-called
Earthly and Heavenly Love (XI, 147) is one of those creations
that produce an indelible impression on the beholder. The picture
rivets the attention like a poetical dream, and after the eye has
feasted on the charms of the colouring the composition still
captivates the imagination. The Arming of Cupid (XI, 170) is
one of the finest mythological works by the same master. Boni-
fazio is another master affording examples of the richness of col-
ouring of the Venetian School (XI, 186, being the finest).

As is generally the case in the Roman galleries, the painters
of the later revival of art, the Adberents of the Carracci and
the Naturalists , figure very numerously here. Domenichino's
Diana (V, 53) contains a number of nymphs with lifelike heads,
and an excellent background of landscape; and Albani's Four
Elements (V, 35, 40, 44, 49) are superb decorative pictures. On
the other hand, the works of Michael Angelo da Caravaggio, the
chief of the naturalists (XI, 110), are repulsive. The pictures by
German and Netherlandish masters are unimportant. Rooms 1, 2,
7, 8, and 9 are closed on Sun.

At the top of the staircase is a small vestibule, to the left of
which is —

Room 1 (chiefly Florentine and Lombard schools). Right wall :
421. Albertinelli, Head of Christ; 424. Raphael, Madonna di Casa
dAlba, an early copy; 425, 427, 440, 442. Bacchiacca, Story of
Joseph; *433. Lor. di Credi, Madonna with the flower-glass; 434.
School of Leonardo da Vinci, Leda ; *435. Marco da Oggiono, Christ
imparting a blessing; 439. School of Verrocchio, Holy Family; 444.
Bronzino, John the Baptist. ■ — Left wall: 458. Bugiardini, Ma-
donna; *459. Sodoma, Holy Family; *461. Andrea Solario, Christ
bearing the Cross; 462. Sodoma, Pieta, darkened by time. — To
the left is —

•Baedekbb. Central Italy. 14th Edition. 13

194 /. N. and E. a*ui*. hkju^j. /. , Ma Borghese.

Room 2. Curiosities. Also, by the entrance: 519. View of the
Casino Borghese in the 17th cent. ; 527. Vanni, Three Graces; 514.
School of Leonardo da Vinci, Study of a female head, in silver-
point. Mosaics by Marcello Provenzale: 498. Madonna, 495. Portrait
of Paul V. — We return to Room 1 and enter —

Room 3 (Florentine school). Entrance-wall : 318. Carlo Dolci,
Madonna; 310. Fra Bartolomeo, Holy Family; 306. Carlo Dolci,
Christ. — Right wall: 352. Florentine School, Holy Family; 348.
School of Sandro Botticelli, Madonna; *346. Sassoferrato, Copy of
Titian's Three Ages (original in London); 343. Piero di Cosimo,
Madonna. — Exit-wall : 340. C. Dolci, Mater Dolorosa; Andrea del
Sarto, 334. Madonna, 328. Mary Magdalen; 336. Bugiardini, Ma-
donna. — Between the windows : 326. Lucas Cranach, Venus and
Cupid; 324. Franciabigio, Venus.

Room 4. Entrance- wall : in the centre, *369. Raphael, Entomb-
ment, painted in 1507 for the Baglioni chapel in San Francesco al
Prato in Perugia (p. 67), just before the master went to Rome, after-
wards purchased by Paul V.; 371. 6hirlandajo(f), St. Catherine;
373, 374. Oiulio Romano, Madonna; 376. Andrea Sacchi, Portrait
of Orazio Giustiniani; 377. Fiorenzo di Lorenzo, Crucifixion, with
SS. Jerome and Christopher. To the left: 355. Portrait of the so-
called Fornarina, a good copy of Raphael's original (p. 164), by Sasso-
ferrato. — Wall to the right: Copies after Raphael, 420. John the
Baptist, 413. Julius II.; 411. Van Dyck, Entombment; *408. Pon-
tormo, Cardinal Marcello Cervini. — By the first window : to the
right, Perugino, 401. Madonna, 402. Mary Magdalen ; to the left,
*399. Timoteo Vili, Portrait of a boy. — By the second window: to
the right, *396. Antonello da Messina, Portrait; 397. Perugino,
Portrait. — Last wall: 390. Ortolano , Pieta; 382. Sassoferrato,
Madonna; 386. Perugino, St. Sebastian. — We now return to the
vestibule and enter the —

Gali/ebia (R. 5). In the centre is an antique marble group of an
Amazon riding down two warriors. Entrance- wall: 68. Baroccio,
Flight of ^Eneas from Troy. — By the first window : *65. Franc.
Francia, St. Stephen, a youthful work; by the third window: 61,
60 a. School of Fr. Francia, Madonnas ; by the last window : 57.
School of Fr. Francia, St. Francis. — Back-wall: 35, 40, 44, 49.
Franc. Albani , The four Elements , landscapes with mythological
accessories; 42. Ouercino, Return of the Prodigal Son. — Exit wall:
Domenichino, *53. Diana and her nymphs practising with their bows,
55. Cumaean Sibyl.

Room 6. Chiefly portraits : 97. Moroni, 94. Bronzino, 74. Pon-
tormo. Also, on the entrance-wall, 92. Andrea del Brescianino,
Venus. Opposite, 90. Elisabetta Sirani, Lucretia. — We traverse a
small anteroom opposite the entrance and enter —

Room 7 (School of Ferrara). Left wall : *217. Dosso Dossi,
Circe the sorceress, with fine sylvan landscape, one of the artist's

f. ViUa Borghese. ROME. J. N. and E. Hills. 195

masterpieces; 218.' Mazzolino, Adoration of the Magi; 211. Dosso
Dossi, Madonna. Numerous paintings (mostly small) by Oarofalo:
at the entrance , 205. Entombment. 210. Madonna, 208. Madonna
and St. Francis, 213. Madonna and SS. Peter and Paul; right wall,
237. Scourging of Christ, 239. Adoration of the Magi, 240. Madonna
and saints.

Room 8 (Netherlandish School). 268. Van D«/cfc(?), Crucifixion ;
269. Pieter de Hoogh, Tavern scene; 274. Rubens (?), Visitation; 272.
Pieter Codde, Military-scene; 273. Lundens, Surgical operation;
291. D. Teniers, Genre scene.

Room 9. Three frescoes (under glass) by Pupils of Raphael,
from the so-called Villa of Raphael (p. 190): 303. Marriage of
Alexander and Roxana, from a drawing in the Albertina in Vienna,
which bears the name of Raphael ; 294. Nuptials of Vertumnus and
Pomona, of inferior value; *300. Perin del Vaga, so-called 'Bersaglio
degli Dei' (shooting-contest of the gods), from Michael Angelas draw-
ing in red chalk, now at Windsor.

This composition was borrowed from Lucian (Nigrinus, C. 36), who
likens the words of philosophers to arrows launched by various archers
at the mark (the heart of man). 'Some stretch their bow too tightly, and
their bolt does not remain in the mark, but only splits and wounds it;
others have no strength and graze but the surface; but the true archer
chooses an arrow, not too sharp and not too blunt, looks straight at the
mark, and hits it so that the arrow remains fast'.

We now return to the anteroom between Rooms 6 and 7 and
turn to the right to —

Room 10. Entrance-wall : 137. School of Paolo Veronese, John
the Baptist preaching; 133. Marcello Venusti, Copy of Seb. del
Piombo's Scourging of Christ (p. 377). — Left wall: 101. School
of Paolo Veronese, St. Anthony preaching to the fishes; 106. Palma
Vecchio, Lucretia; 157. Venetian School, Madonna with the donors
and saints ; 115. Bern. Licinio, Family portrait; 119. Paris Bordone,
Satyr and Venus. — By the second window: 51. Ouido Cagnacci,
Sibyl; 129, 131. Bellini, Adam and Eve (school-pictures). — Exit-
wall : *125. Correggio, Danae, one of the artist's finest easel-pictures ;
127. L. Bassano, The Trinity.

Room 11 (Venetian School). In the centre is a good *Copy of the
Farnese Hercules (after Lysippus). Left wall: 143. Venetian School,
Portrait. — **147. Titian, 'Amor sagro e profano' ('Earthly and
Heavenly Love'), one of Titian's first great works, painted under
the influence of Giorgione, probably not before 1512.

The above title was first suggested at the end of the 18th century.
Some critics hold that the painting represents the Fountain of Love in the
Ardennes, as described in Ariosto's 'Orlando Furioso'-, but other modern
authorities maintain that it is a mythological scene conceived in the Re-
naissance manner, viz. Venus persuading Medea to fly with Jason, and
that the theme was suggested by the description of the episode in the
'Argonautica'' of Valerius Flaccus.

Between the windows: 110. Caravaggio , Holy Family with the
serpent. — Risht'wall': 163. Palma Vecchio, Madonna with_saints

13*

196 /. N. and E. Hills. ROME. f. Villa di Papa Giulio.

and donors; 164. Cariani, Madonna; *170. Titi&h, Arming of Cupid
by Venus and the Graces, painted about 1560. — Entrance-wall:
176. Oiov. Bellmi(f), Madonna; *185. Lor. Lotto, Portrait; *186.
Bonifazio, Return of the Prodigal Son; *188. Titian, St. Dominic;
192. Bibera, Liberation of St. Peter; *193. Lor. Lotto, Madonna;
194. Titian, Scourging of Christ.

About !/2 M. outside the Porta del Popolo the Vicolo dell' Arco
Oscuro diverges to the right from the road to the Ponte Molle
(p. 383; tram-way No. 14 in the Appx.), beside the Casino of Ju-
lius III., built about 1550 from designs attributed to Jac. Sanso-
vino and Bald. Peruzzi , but now much dilapidated and not open to
■visitors. About 3 min. farther on the Vicolo leads to a small piazza, in
which is the entrance to the —

Villa di Papa Giulio, built by Vignola, with the assistance of
Vasari and Michael Angelo, fitted up in 1888 as a museum for an-
tiquities found in the province of Rome. Admission, see pp. 150, 151.

Ground Floor. Room to the Right. The ceiling is tastefully decorated
in stucco (Christian virtues) and with paintings (Story of the nymph Cal-
listo) by Taddeo Zuccaro. In the centre is a sarcophagus from Cervetri;
and in the glass-cases are vases from Corchiano (near Falerii). On the
walls are copies of paintings in Etruscan tombs and of a sarcophagus at
Florence. — Room to the Left, with tasteful ceiling. Terracotta wall-cover-
ings from the Etruscan temples of ancient Falerii (p. 95), freely restored.
In the centre is a very ancient coffin, hollowed out of a tree-trunk, with
the skeleton and the coarse early Italic earthenware which it contained
(found in 1889 near Gabii). — We now enter the Semicircular Passage sur-
rounding the court, with elegant grotesque decorations. Here, to the left,
is the staircase to the —

First Floor. /. Room. Earliest period of Falerii (before the 6th
cent. B.C.), in which importations from Greece and the East are still scanty.
The coffins of hollowed tree-trunks, at the foot of the entrance wall, should
be observed. In the central glass-case are a bronze cinerary urn in the
form of a house, two bronze tripods with cauldrons, bronze buckles, etc.
The earthenware, bronze weapons, ornaments, etc., are so far as possible
arranged as they were found in the tombs. In Case VI and the following
cases are a few isolated vases of Greek origin.

II. Hall. Period of the Greek importations, about 550-350 B.C. Vases
with black and with red figures, arranged in chronological order, beginning
with Case XI, to the left (black-figured vases). The next cases contain
vases representing the severe and then the free style of red -figured de-
corations. In XVIII and the following cases are poor Italic imitations
placed beside imported Greek examples. The central glass-case contains
the finest specimens : * Vase in the form of a Knuckle-hone, with a lion, a Cupid,
and a Nike, made, according to the inscription, by a certain Syriskos; large
cratera with dancing girls; Destruction of Troy; 'Hercules admitted to
Olympus. Also, fine bronze vessels. In Case XXII is a skull with false
teeth, set in gold. — The interesting frieze in this room exhibits views of
Rome in the 16th century.

///. Room. Imitations of Greek art, from the 4th cent, down to the
destruction of Falerii by the Romans, in 241 B.C. The finest specimens
are in the central glass-case: in front are two vases of similar shape that
to the right inscribed in Latin 'Ganumede, Siespater, Cupito, Menerva'; to the
right are two drinking-bowls with the Faliscan inscription 'Foied vino
pipafo, era carefo (perhaps = 'hodie vinum bibo, eras carebo'). Cases
A and B contain large vases with silver glaze.

/. Cabinet. From the Tomb of a Priestess found near Todi (p. 69) : *Gold
ornaments, gems, remains of the golden ornamentation of a dress trans-

f. Villa di Papa Qivlio. ROME. J. N. and E. Hills. 197

ferred to modern cloth; fine bronze ewer with a figure of Hercules as
handle. — //. Cabinet. Terracotta figures from the temples at Falerii, some
with admirably preserved painting and of striking beauty : 'Statue of Apollo ;
antefixse with Medusae ; to the right, small terracotta figures of Greek work-
manship, etc. — We now return and from Room II enter the —

Semicircular Corridor of this floor, which contains terracottas, bronze
weapons, ornaments, and other objects found in tombs in the neighbour-
hood of Falerii. In the right wing are specimens dating from the earlier
Faliscan period; in the left wing, those of the later period, when imports
from Greece began to appear. Case LXII. Bronze vessels in admirable pre-
servation. LXVI. Corinthian vessels. LXXVI. Vase of the best style,
Apollo Citharcedus and the Muses. — We now return and descend to the —

Court. The pleasing and somewhat baroque Fountain, with a small
sunken basin in the E. colonnade, is said to have been executed by Vignola
and Ammanati from a design by Vasari. In a side-court to the right is a
fall-size Model of an Etruscan Temple, the remains of which were discovered
in 1882 at Alatri, in the territory of the Hernici.

On the N. side of the piazza in front of the villa a road leads
under the Arco Oscuro, a long vaulted archway. A little to the
left, beyond the archway, lies the frequented Osteria dell' Arco
Oscuro. The road goes on to the Monti Parioli (p. 383) and the
Acqua Acetosa (p. 384).

II. Rome on the Tiber (Left Bank).

That part of the city which extends to the W. from the Quirinal
and Capitol as far as the river was uninhabited in the most ancient
times (Campus Martius), but was gradually covered with buildings
as Rome extended her sway, and as far back as the Republic, but
more particularly in the reign of Augustus, it became the site of many
palatial edifices. This new town of ancient Rome was almost the
only inhabited district during the middle ages and following cen-
turies, and it is still the most densely peopled quarter. The present
government has undertaken the task of improving this quarter by
the construction of new and broad streets ; but apart from these it
still retains the characteristics of the mediaeval and Renaissance
city in its network of narrow and dirty streets and lanes, enlivened
by the busy traffic of the lower classes, and containing many highly
interesting churches and palaces. The Corso, the principal thorough-
fare, is characterized by its imposing Baroque facades of the 17th
and 18th centuries.

a. The Corso and Adjacent Side Streets.

The *Corso, officially called Corso Vrnberto Primo, is the central
street of the three running to the S. from the Piazza del Popolo
(p. 156). It corresponds with the ancient Via Lata beginning at the
Capitol and continued outside the ancient city as the Via Flaminia
(comp. p. 383). Its length from the Piazza del Popolo to the Piazza
Venezia is 1650 yds., or nearly a mile.

The N. r.art of the street is little frequented. No. 518, to the

198 II.R.ontheTiberfL.B.). ROME. a. Cor so.

right, between the first two cross-streets, is the Pal. Rondanini
(PI. 1, 17), the court of which contains an unfinished Pietaby Michael
Angelo, on which he worked up to a few days before his death.
No. 18, on the left side, was once inhabited by Goethe; inscription
(placed there in 1872) : 'In questa casa immaginS e scrisse cose
immortali Volfango Goethe.'

On the right, farther on, is the church of San Oiacomo in Augusta,
or degli Incurabili, with a facade by C. Maderna. It belongs to the ad-
joining surgical hospital, which extends to the Via di Ripetta; one
of the landings inside bears a fine relief of the Madonna by Maestro
Andrea (15th cent. ; apply to the porter). Nearly opposite, on the
left, is the small Augustine church of Oesii e Maria, with a facade
by Girol. Rainaldi.

In the Via de' Pontefici, the third turning on the right, is the entrance
(No. 57 ; on the left) to the Mausoleum of Augustus (PI. I, 17, 18). erected
by that emperor in 28 B.C. as a burial place for himself and his family,
and in which many of his successors down to Nerva were interred. On a
square travertine basement, now wholly beneath the level of the ground,
rose a huge circular edifice in two stories, which contained the mortuary
chambers, above which arose a terraced mound of earth, embellished
with cypresses and surmounted. by a statue of the emperor. The obelisks
mentioned at pp. 177 and 180' were erected beside the entrance to the
Mausoleum in the 1st century. The whole was environed with a park.
Augustus was interred in the large central chamber, from which radiated
fourteen smaller chambers, most of which are preserved, though iu a
ruinous condition. In the 12th cent, the Mausoleum was converted into a
fortress by the Colonnas. — Visitors may here inspect a plaster model of
the equestrian statue of Victor Emanuel II., by Enrico Chiaradia (d. 1901;
comp. p. 237); fee 1/2 fr-

On the right, in an expansion of the Corso, is San Carlo al Corso
(PI. I, 18), the national church of the Lombards, and the resort of
the fashionable world. It was begun in 1612 by Onorio Lunghi and
continued by Martino Lunghi the Younger and Pietro da Cortona;
the tasteless facade was added in 1690 by Cardinal Omodei. Ceiling
paintings in the interior by Giacinto Brandt Over the high-altar
is one of the finest works of Carlo Maratta: the Virgin recommend-
ing San Carlo Borromeo to Christ. (The heart of San Carlo is de-
posited under this altar.)

Beyond the Via Condotti, leading to the Piazza di Spagna (p. 160),
and the Via Fontanella di Borghese (p. 213), prolonging the Via
Condotti towards the W., begins the frequented part of the Corso,
with numerous shops, and enlivened, especially towards evening,
by crowds of carriages and foot-passengers.

On the right, No. 418 a, is the spacious Palazzo Ruspoli, built
by Ammanati in 1586, with a fine marble staircase.

To the left, at the corner of the Via Frattina (No. 151), is the
Palazzo Bernini, the vestibule of which contains a large figure
representing 'Truth brought to light by time', by Bernini, an ex-
aggerated example of the allegorical style of the time, but admirably
executed.

In a long piazza on the right rises San Lorenzo in Lucina

a. Corso. ROME. II. R.ontheTiber(L.B.). 199

(PI. I, 18), founded in the 4th cent, by a pious matron named
Lucina, but frequently altered, for the last time in 1606. In the
interior, by the 2nd pillar to the right, is the tomb of Nic. Poussin
(d. 1665), erected by Chateaubriand; above the high-altar a Cruci-
fixion by Guido Reni. This church was the scene of Pompilia's mar-
riage (in Browning's 'The Ring and the Book').

On the right, at the corner of the Piazza in Lucina and the
Corso, is the Pal. Fiano (PI. I, 18), on the site of the Ara Pacis,
set up by Augustus in B.C. 9 (remains, see p. 172). In front of
this palace an ancient arch once spanned the Corso (reliefs, see
p. 165). An inscription on the house No. 167 (on the left), records
that Alexander VII. widened the street and removed the arch in
1662, for the benefit of the horse-races during the Carnival.

The Via delle Convertite on the left leads to the Piazza di San
Silvesteo (PI. I, 18), which is embellished with a monument
to the poet Pietro Metastasio (1698-1782), by Gallori (1886). In the
N.W. corner of the piazza rises the venerable church of San Sil-
vestro in Capite, erected by Paul I. (757-67) on the site of his own
house, in honour of a piece of the head of John the Baptist still
preserved here. The entrance-court is ancient, but the church has
been frequently rebuilt. The church now belongs to English Roman
Catholics. Part of the monastery formerly connected with the church
has been converted into the handsome Post and Telegraph Office,
which has entrances from the piazza and the Via della Vite (p. 138).
Another part of the old monastery contains the ministerial Office of
Public Works. — Opposite San Silvestro is the English Church of
the Trinity (p. 144), erected in 1874, with a handsome facade in the
early-Renaissance style. — At No. 11, Via di Mercede, which leads
to the E. from the Piazza di San Silvestro, is a tablet recording that
Sir Walter Scott lived here when at Rome in 1832.

Electeic Tkamway from the Piazza di San Silvestro to the Railway
Station and thence to the Piazza Venezia. see No. 1 in the Appendix.

Farther on in the Corso, to the right, is the Palazzo Verospi
(No. 374), now Torlonia (PI. 1, 18), erected by Onorio Lunghi, and
restored by Alessandro Specchi. A loggia on the first floor is adorned
with pleasing mythological frescoes by Fr. Albani. A tablet placed
on this house in 1892 records that Shelley lived here in 1819.

On the left, at the corner of the Via delle Convertite, is the
large new Palazzo Marignoli, on the groundfloor of which is the
Caffe Nazionale, better known as the Caffe Aragno. On the same
side is the large establishment of the Fratelli Bocconi, built in
1886-87, beside which begins the Via del Triione (p. 153). The
Via San Claudio, between these 'palazzi', leads to the Piazza di
San Claudio, in which is the British Consulate (p. 139).

To the right, at the corner of the Piazza Colonna, is the exten-
sive Palazzo Chigi, begun in 1562 by Oiac. della Porta and com-
pleted bv C. Maderna, now occupied by the Austrian Embassy to

200 II. R. on the Tiber (L. BJ. ROME. a. fiazza Colonna.

Quirinal. Neither the small collection of antiques and pictures
nor the library (p. 146) is open to the public.

The handsome Piazza. Colonna (PI. II, 18; named from Ital.
colonna, column), which here interrupts the Corso, is one of the
busiest squares in Rome (military music on summer -evenings,
comp. p. 149). In 1889, by the pulling down of the Palazzo Piom-
bino, the piazza was extended on the E. as far the church of Santa
Maria in Via, built by Mart. Lunghi the Elder in 1594.

The *Column of Marcus Aurelius, rising in the centre of the
piazza named after it, is embellished like that of Trajan with reliefs
from the emperor's wars against the Marcomanni and other German
tribes on the Danube. The column consists of 28 blocks, besides
the pedestal and capital, in all 95 ft. (100 ancient Roman ft.) in
height, and has a staircase in the interior. In 1589 Sixtus V. caused
the column to be restored and crowned with a statue of St. Paul,
while he strengthened the pedestal and covered it with masonry. At
that period it was ascribed to Antoninus Pius, after whom it was
erroneously named.

The reliefs, which form 23 spirals around the column, are divided into
two series by the figure of Victory wiiing upon her shield, about half-
way up, on the E. side. The reliefs above refer to the Bellam German-
icum (172-173) against the Marc manni and Quades; those below to the
Bellum Sarmaticum (174-175) against the Sarmates, Iazyge', and Quades.
The tljird spiral from the foot, on the E. side, illustrates the preservation
of the Roman army by a sudden rain-storm, an incident wtiicb. in the 4th
cent, was explained as a miraculous response to the prayers of some
Christian legionaries.

On the W- side of the piazza is a building with a portico of
ancient Ionic columns from Veii, erected here in 1838 (on the ground-
floor the restaurants 'Colonna' and 'Fagiano', see p. 137).

The streets running to the W., on the right and left of the
portico, lead to the Piazza di Monte Citorio (p. 215). The street
running to the S. leads to the left to the Piazza di Pietra (PI. II,
18), on the S. side of which are eleven Corinthian columns, 41 ft.
high, of a *Xemple of Neptune, built by Hadrian and once possessing
15 in its length and 8 in its breadth. The eleven extant columns
belonged to the N. side of the temple. A portion of the wall of the
cella is preserved in the adjoining building, once used as a custom-
house (Dogana di Terra), now the Exchange. The reliefs repre-
senting conquered provinces, mentioned on p. 239, were among
the decorations of the temple or of the colonnade surrounding it. —
The Via de' Pastini leads hence to the Pantheon (p. 216), while the
Corso is regained by the Via di Pietra to the left.

From the Corso to the Fontana di Trevi by the Via delle Muratte,
see p. 161.

Farther on in the Corso, also on the left, where the street ex-
pands, we reach the *Palazzo Sciarra-Colonna (No. 239 ; PI. II 18),
the finest of th- -''•-,- ----- '-■' -* *u- K'"~;iniiig of the'l7th

a.PalSciarra-Colonna. ROME. II. R.onthe Tiber (L.B.). 201

cent, by Flaminio Ponzio, with a portal of later date. This palace
once contained a famous picture-gallery (comp. p. 371).

Opposite is the imposing Cassa di Risparmio, or Savings Bank,
by Cipolla (1868). The first side-street on the right leads to the
church of San? Ignazio (p. 203), the next two side-streets to the
Collegio Romano (Museo Kircheriano; p. 203). No. 307 in the Corso,
between the last two side-streets, is the Palazzo Simonetti. Opposite,
a little back from the street, is the church of —

San Marcello (PI. II, 18), mentioned as early as 499, re-erected
by Jac. Sansovino in 1519, and entirely modernised in 1874. The
facade (1708) is by Carlo Fontana.

Interior. To the left of the entrance is the double tomb of the Venetian
cardinals Giuv. Michiel (d. 1503) and Ant. Orso (d. 1511). — The 4th Chapel
on the right contains ceiling-paintings by Perin del Vaga, completed after
his death by Dan. da Volterra and Pellegrino da Modena, and the monument
of Card. Consalvi (d. 1824), minister of Pius VII., by Rinaldo Rinaldi. —
The tomb of the English Cardinal Weld (d. 1837) and that of Pierre Gilles
(d. 1555), the traveller, are also in this church.

The next side-streets are the "Via Lata, leading to the right to
the Collegio Romano (p. 203), and the Via Santi Apostoli, leading
to the left to the Piazza Sahti Apostoli (p. 210).

On the right side of the Corso, farther on, is the small church of
Santa Maria in Via Lata (comp. p. 197), mentioned as early as the
7th cent., but in its present form dating from the 17th; tasteful facade
executed in 1680 from designs by Pietro da Corlona. From the
vestibule a staircase descends to an oratory (built by Vignola) in
which St. Paul and St. Luke are said to have taught. Below this
church and the Palazzo Doria lie extensive ancient walls, which
once belonged to the Saepta Julia, an edifice begun by Caesar and
completed by Agrippa, for taking the votes of the national assembly,
but afterwards used for games and as a market-place.

Adjoining Santa Maria in Via Lata is the beautiful Palazzo Doria
(PI. II, 18), with a 17th cent, facade towards the Corso; see p. 207.

Opposite rises the Palazzo Odescalchi, erected in 1887-88 in the
Florentine style ; it is the residence of the Prussian ambassador to
the Vatican. The British School at Rome (p. 146) occupies part of
the palazzo; entrance from the Piazza Santi Apostoli (p. 2 10). Adja-
cent is the Pal. Salviati, by Carlo Rainaldi, occupied in 1725-1800
by the French Academy of Art (p. 159).

The last corner-house on the right is the Pal. Bonaparte, formerly
Rinuccini, erected in the 17th cent, by Mattia de' Rossi, where Madame
Laetitia, mother of Napoleon I., died in 1836.

On the S. the Corso is terminated by the Piazza di Venbzia
(PI. II. 17; 48 ft. above the sea-level), from which the Via Nazionale
(p. 174) runs to the left and the Via del Plebiscite, continued by the
Corso Vittorio Emanuele (p. 223), to the right. The piazza, which is
the central point of the tramway - system (comp. the Appx.), is

named after the imnnsino' —

202 II. R. on the Tiber (Jb. ts.j. riuiviii. a. raiazzo di Venezia.

*Palazzo Venezia, begun before 1455 by Cardinal Barbo (after-
wards Pope Paul II.) in the Florentine style, in which the effect is
produced by massiveness (p. lxiv). The stones were obtained from
the Colosseum. The architect is unknown, but Vasari is certainly
wrong in ascribing the design to Giuliano da Majano, who never
worked in Rome. Meo del Caprino and Giuliano da Sangallo merely
superintended its erection. The palace was presented in 1560 by
Pius IV. to the Republic of Venice, with which it came in 1797 into
the possession of Austria, and it is still the residence of the Austrian
ambassador to the Vatican. The handsome two-storied court with
arcades, by Giacomo da Pietrasanta, is little more than begun. The
Palazzetto Venezia, built in 1466-69, which adjoins it on the S.E.
side, is to be pulled down, and the loggia over the court re-erected
to the W. of the undermentioned Piazza San Marco.

The N. Slope of the Capitol, in front of which we now stand,
has been undergoing much alteration since 1885. In order to make
room for the substructure of the Victor Emanuel Monument (p. 237),
and to afford an unimpeded view from the Corso, several blocks of
buildings have been pulled down, including the Palazzo Torlonia,
built about 1650 by C. Fontana, which occupied the E. side of the
Piazza Venezia. — The streets running to the E. debouch in the
Forum Trajanum (p. 274).

To the left, at the beginning of the Via di Marforio (p. 271; foot-traffic
only), which leads hence to the S.E. to the Forum (p. 250), is the Tomb
of Cains Pobliciits Bibulus (PI. II, 20), to whom the ground was granted by
the Senate as a burial-place for himself and his family ('honoris virtu-
tisque caussa', as the inscription records) towards the end of the republic.
This point must therefore have lain outside the walls of Servius, as inter-
ments within their limits were prohibited.

Turning to the W., a few paces bring us to the small Piazza
San Marco, with its gardens, and to —

San Marco (PI. II, 17), incorporated in the S. side of the Palazzo
Venezia. This church, said to date from the time of Constantine, was
re-erected in 833 by Gregory IV. , and adorned in 1465 by Giacomo
da Pietrasanta with a fine vestibule. The interior, restored in the
17th cent., was modernised by Card. Quirini in 1744.

Vestibule. Roman and ancient Christian inscriptions, built into the
walls. St. Mark in relief, above the handsome inner principal portal. The
Inteeiok is approached by a descent of several steps. With the exception of
the tribune and the beautiful coffered ceiling (by Marco de~ Dolci; 1467-71),
all the older parts have been disfigured by restorations in the baroque
style. The Tribune, with its handsome pavement (opus Alexandrinum),
lies several steps higher than the rest of the church. The mosaics (in the
centre Christ, to the left, SS. Mark, Agapetus, and Agnes, to the right,
SS. Felicianus and Mark escorting Gregory IV.) date from the most degraded
period of this art and have been justly described as 'utter caricatures'. In
the Eight Aisle: 1st Chapel, Altar-piece by Palma Giovane, the Resurrection;
3rd Chap., Adoration of the Magi, by Maratta; at the end, adjoining the
tribune, an admirable portrait of Pope Mark, by Melozzo da Forli. In the
Left Aisle: 2nd Chap., Altar-relief, Greg. Barbadigo distributing alms, by
Ant. d'Este. — The Saoeisty contains an altar and canopy by Mino da
Fiesole and Giov Tmiimnin

b. Sant Ignazio. ROME. II. tt. on the Tiber (L. B.). 203

On the same side of the square is the so-called Madama Lucrezia,
the mutilated marble bust of a colossal female statue (priestess of
Isis), which carried on conversations with the Abbate Luigi (p. 224),
similar to those of Pasquino with the Marforio (comp. p. 226].

The Via di San Marco terminates in the Via Aracoeli, which to
the left leads to the Piazza Aracceli (p. 235) and the Capitol, and
to the right to the Piazza del Gesu (p. 223).

b. Museo Kircheriano and Ethnographical and Prehistoric
Museum. Doria and Colonna Galleries.

To the right and left from the S. end of the Corso, 5-6 min. from
the Piazza di Venezia, are several interesting Collections. The Museo
Kircheriano and Ethnographical and Prehistoric Museum is open daily ; the
Doria Gallery on Tues. and Frid. only; and the Colonna Gallery on Tues.,
Thurs., and Sat. (comp. pp. 150, 151).

The Via del Caravita, which diverges to the W. from the Corso be-
side the Savings Bank (p. 201) to the S. of the Piazza Colonna, leads
via the small Piazza Sant' Ignazio (PL II, 18) almost straight on to
the Pantheon. In the Piazza Sant' Ignazio rises the Jesuit church of —

Sant' Ignazio (PI. II, 18), designed by the Padre Orassi, with a
facade by Algardi. The building, begun by Card. Ludovisi in 1626,
after the canonisation of the saint, was not completed till 1675.

The Intekioe is decorated in the baroque style. The paintings on the
vaulting, dome, and apse, and the picture over the high-altar are by the
Padre Pozzo, an able master of perspective, by whom the chapel of San Luigi
Gonzaga, in the aisle to the right, was also designed. The paintings on the
ceiling and dome are seen in correct perspective from the round marble
slab in the centre of the nave. In the transept are two large marble reliefs :
to the right, Apotheosis of San Luigi Gonzaga, on the left, Annunciation.

On the roof of this church is a Time Ball, regulated from the Obser-
vatory (p. 207), the fall of which at noon is the signal for the discharge
of a gun at the Forte Monte Mario (p. 385).

The space between Sant' Ignazio and the Palazzo Grazioli (p. 223),
to the S., was occupied in antiquity by a famous Temple of Isis,
and the excavations on this site have brought numerous ancient
remains to light. Among these are the lions, sphinxes, and canopi
in the Capitoline Museum (p. 245), and the obelisks now in front
of the Pantheon (p. 216), Santa Maria sopra Minerva (p. 218), and
the railway-station (p. 166).

On the W. side of the Piazza Sant' Ignazio, at the corner of the Via
del Seminario, is the Palazzo Borromeo, which since 1873 has been
the seat of the Vniversitas Gregoriana, belongingto the Jesuits. This
institution, which has superseded the Collegio Komano (see below),
confers degrees (laurea) in theology, canon law, and philosophy. —
Opposite is the Ministry of Posts and Telegraphs (PI. II, 18).

On the S. the choir of Sant' Ignazio adjoins the —

Collegio Romano (PI. II, 18), an extensive building erected at
the end of the 16th cent., under Gregory XIII. and Sixtus V., by
Bart. Ammanati. The massive principal facade looks S. towards the
Piazza del Colleeio Romano, where also is the entrance to the Liceo

204 ;/. R. on the Tiber (L.B.). ROME. b. Museo Kircheriano.

Ennio Quirino Visconti, established in this wing. — A side-entrance,
on the E. side of the building, in the Via del Collegio Romano,
parallel to the Corso, admits to the Biblioteca Vittorio Emanuele
(p. 146) and (on the third story) to the —

*Museo Kircheriano, founded by the learned Jesuit father, Atha-
nasius Kircher, born near Fulda in 1601, professor of mathematics
at the Collegio Romano (d. 1680). In 1876 the museum was in-
corporated with the rich and much more extensive ^Ethnographical
and Prehistoric Collection (Museo Etnografico-Preistorico). The
director is Commendatore Pigorini. Adm., see pp. 150, 151; cata-
logue, see Helbig and Reisch, Collections of Antiquities at Rome,
vol. ii, pp. 415-459.

We first enter (to the left) a passage (PI. 1) with an antique
mosaic floor, at the end of which is an image of Buddha. Adjoining
it on the right is a long corridor (PI. 2), in which the Ethno-
graphical Collection begins (objects from the Polar Regions, and
from North and South America).

The next six rooms (PI. 3-8) represent the South Sea Islands,
divided into three groups : Melanesia, Polynesia, and Micronesia. —
In the next corridor (PI. 9), Boats and other objects, from various
countries. In the adjoining cabinet (PI. 10), Embroidered mantle
from Mexico, time of Fernando Cortez. — Then a series of rooms
with articles from Australia and Oceania (PI. 11-13); South Africa,
the Sudan, and districts of the upper Nile (PI. 14, 15); Abyssinia
and Shoa (PI. 16, 17; numerous *Gifts from African chiefs to the
king and queen of Italy), and other countries of East Africa (PI. 18-
21); Burma (PI. 22) ; China (PL 23); India (PI. 24); Indo-China
(PI. 25); Japan (PL 26, 27); Syria, Arabia, Siam (PL 28).

The Prehistoric Collection (mainly of Italian origin) begins
here. Rooms 29-32 are devoted to the stone age. — The following
rooms (PI. 33-35) contain objects of the bronze age. Weapons of
the bronze and iron ages; statuette of a warrior with double-horned
helmet from Sardinia (PL 36). — Iron age (PL 37-39).

The last room in this series (PL 40) contains the chief boast of
the collection, viz. the *Treasure of Praeneste, found in a tomb at
Palestrina (p. 428) in 1876, probably once in the possession of a
ruler of Praeneste at the beginning of the 7th cent. B.C.

The chief objects are exhibited on the Central Shelf: No. 1. Gold
Personal Ornament, with 131 lions, horses, and other fantastic animals
attached to it in rows, adorned with rows of minute gold points; 4, 5, 6.
Cylinders of thin gold, ornamented with delicate granulated work. No. 2.
Golden fibula; 26. Fragments of a Silver Bowl with Gilt Reliefs, in the
Egyptian style: Victorious king and Ammon-Ra, History of Osiris; above
the wing of the hawk in the interior design, in Phoenician letters, is the
name of the maker or original possessor 'Esmunjai ben Asto'; 20. Two-
handled Beaker of dull gold; 25. Flat Silver Bowl with Gilded Beliefs (royal
hunting-scenes, horses, and birds). 23. Large Globular Silver- Gilt Goblet,
with six snakes forming the handles ; the bowl is decorated with rows
of figures of armed men, wild beasts, and birds. 24. Silver-gilt bowl
the interior of «>■=■■- - -■■ ' '■-'■ ■-'■" ' " " orses, oxen, birds!

6. Museo Kircheriano. ROME. 11. R. on the Tiber (L. B.) 205

and trees. — On the central shelf also: 27, 28. Two daggers; blue glass
bowl; ivory reliefs to be inlaid with wood; etc.

Upper Shelf: 72. Very primitive Tripod of bronze and iron, with three
human figures on the edge looking into the interior, and three animals; 81.
Large bronze stand, in the form of a blunted cone. — Lower Shelf: 75.
Fragmentary Cauldron of hammered bronze, with griffins' heads as hand-
les; fragments of bronze plates hung on the walls of the to mb.

We next enter another
corridor (PI. 41) contain-
ing models of megalithic
monuments (menhirs and
dolmens) from the neigh-
bourhood of Otranto ; mo-
del of a Sardinian Nuragh,
i.e. one of the conical
towers which served both
as sepulchral monuments
and as places of refuge,
and probably date from
the bronze age (extending
to 1000 B.C.). — Then
come three cabinets (PI.
42-44) with prehistoric
relics from Switzerland,
France, Scandinavia, and
Hungary, etc., and a cor-
ridor (PI. 45) leading to
three further cabinets (PI.
46-48) with American an-
tiquities (Mexican masks,
Peruvian vessels and
mummies).

From Corridor 45 we pass
through a glass-door to the
rooms containing the col-
lections of the old Museo
Kiechbriano. Corridor49
contains sculpture (mostly
unimportant). The two
fine female heads (one in
blackmarble) atthe farther
end, to the right and left of
theexit,should be noticed;
also a hermes with an an-
cient Greek head of a boy
between the two doors of Cabinet 53. Opening off the corridor on
the left are four cabinets (PL 50-53). — Cab. 50 : Christian in-
scriptions and lamps found in the catacombs; small paintings;
enamelled ^icturp. of Christ: bronze objects; large hanging-lamps.

206 II. R. on the Tiber {L,.a.). kumjs. o. museo Kircheriano

Small mosaics. The glass-case In the centre contains carvings in
ivory, amber, and wood (mediaeval and Renaissance periods). —
Cab. 51 : Fragments of Christian sarcophagi. In the centre, a large,
very fragmentary vessel of grey marble, with the Adoration of the
Shepherds and Christ enthroned with the Apostles in relief. In
front of the window is a piece of wall-plaster from the PeBdagogium
on the Palatine (comp. p. 281), with a Caricature of the Crucifixion
scratched upon it : a man with the head of an ass, affixed to a cross,
with a praying figure at the side, and the words 'AXelajxevo? ge^exe
ftedv (Alexamenos worshipping his god).

This is usually supposed to represent the sarcastic wit of an imperial
page at the expense of some Christian companion, and to have been per-
petrated about the 3rd century. There is other evidence to show that the
worship of asses was attributed to Christians and Jews. A more recent
theory, however, is that the draughtsman may have belonged to the Gnostic
sect of the Sethians, who hailed from Egypt and identified Christ with Seth,
the son of Adam, and Seth again with the ass-headed Egyptian deity Seti
or Seth. On this hypothesis the sketch is a kind of confession of faith.

Cab. 52: Glass and Terracotta work. — Room 53. Collection of
Coins, mainly ancient Roman and Italic bronze coins (as grave).
At the window, gems and cut stones. Opposite is a large bronze
tablet with a dedicatory inscription to Minerva in the Faliscan dia-
lect ; above, an iron ring with a bronze label bearing the inscription
'I have run away, catch me, if you restore me to my master Zonino,
you will receive a solidus', generally supposed to have been intended
for a slave, but more probably a dog-collar. Leaden tablets inscribed
with curses (invocations to subterranean spirits to destroy or injure
an enemy; they used to be buried in the earth or deposited in
tombs). Relief of a warrior and horse, in coloured marble. Statuettes
of no importance adorn the walls. — Room 54: Bronzes. By the
wall near the window, an ancient bronze chair (bisellium) inlaid
with silver. Statuette of a boy (for a fountain), originally holding
a goblet or a shell. The *Ficoronian Cista (formerly in the possession
of Ficoroni, the antiquarian), found near Palestrina in 1738, is a
toilet-casket of cylindrical form, adorned with admirably engraved
designs from the story of the Argonauts, which rank among the
most beautiful antique works of the kind.

When the Argonauts on their voyage to Colchis reached the land of
the Bebrykes, the king Amycus prevented them from using a spring of
water until he had been vanquished by Pollux in a boxing -contest. The
central point of the design (compare the copy hanging to the left of the
door) represents the punishment of the vanquished king, who is bound
to a tree by the victor. To the right is Athena, above whom is a Nike
with a victor's wreath for Pollux. In front are Jason and Hercules. Then
appears the ship Argo ; the Greeks drinking at the spring ; and an Argonaut
practising boxing, mimicked by a corpulent Silenus. — The feet and the
figures on the lid are of inferior workmanship. On the latter are the in-
scriptions (3rd cent. B.C.): 'Novios Plautios med Romai (me Romffi) fecid',
and 'Dindia Macolnia fileai dedit'.

Bronze statuette of Dionysus. Silver goblets found at Vicarello
(p. 104), amone which areTfour in the form of milestones and in-

b. Doria Oallery. ROME. 11. B. on the Tiber (L.B.). 207

scribed with the names of the chief stations on the route from Grades
(Cadiz) to Rome. The wall -case contains lead pipes, weapons,
vessels, ladles, scale with weights, sacrificial forks ; Head of Apollo,
after Praxiteles (eyes originally inserted) ; busts, heads, statuettes,
mirrors, cists, small reliefs, torch-holders.

The small Obsebvatory in the Collegio Romano, which acquired
a European reputation under Padre Secchi (d. 1878), is shown in
the morning to visitors with an introduction. The present director
is Commendatore Tacchini.

From the small Piazza del" Collegio Romano (PI. II, 18), the
Via di Pie di Marmo (so called from a colossal marble foot at the
comer of the Via Santo Stefano del Caccio) leads to the "W. in a few
minutes to Santa Maria sopra Minerva (p. 218). — Opposite the
Collegio Romano, next to the choir of Santa Maria in Via Lata
(p. 201), rises the extensive —

"'Palazzo Doria (PI. II, 18), one of the most magnificent palaces
in Rome. The E. fajade fronts the Corso, see p. 201. The court
in the interior is surrounded by arcades. The N. facade, by Pietro
da Cortona, is in the Piazza del Collegio Romano ; and here (No. la)
is the entrance to the —

*Galleb,ia Doma-Pamphili, on the 1st floor (adm., see pp. 150,
151 ; fee l/% fr. ; catalogue, 1901, 1 fr.). In winter the galleries and
other rooms are very cold ; noonday light is the best. — The Doria
Gallery resembles the other Roman collections in possessing ex-
amples of different schools, but the founders have shown a pre-
ference for works of the 17th century. Among the most interesting
of the older paintings will be noted the Madonnas of Niccolb Rondi-
nelli, a little-known follower of Giov. Bellini. Raphael, the prince
of cinquecentists, is represented by the portraits of two Venetian
scholars. The Joanna of Aragon is a copy only. Titian's Daughter of
Herodias, and a portrait by Lor. Lotto are admirable Venetian works.
The colouring of the portrait of Pope Innocent X., by Velazquez, the
chief boast of the collection, is strikingly rich; the skilful manner
in which the three shades of red are blended should be particularly
noticed. Qarofalo, though not a master of the highest rank, has
produced an admirable work in his Nativity of Christ. The land-
scape-painters of the 17th cent, are also well represented. In the
landscapes of Annibale Carracei we observe a conflict between
historic and scenic imagination, and the obtrusion of the former at
the expense of harmony of effect. The pictures by Salvator Rosa
are not among his best works, but Claude Lorrairis landscapes are
justly admired. His 'Mill', and the landscape with the temple of
Apollo, may be regarded as models of ideal landscape ; the effect is
produced by the beauty of the lines and the skilful gradations of
distance. — The examples of the Netherlands Schools, though fairly
numerous, "do not possess great distinction.

<sUo II. R. ontne noer [l,. d.j. iwjmrj. u. Doria Gallery.

We ascend the staircase and ring at the top. We first enter —
Room I. Venetian paintings of small importance: 19. Jacopo

Bassano, Sacrifice of Noah. — Room II. 39. O. Poussin, Landscape;

42. Bourguignon and Maratta , Capture of the town of Castro in

1649, one of the chief military exploits of Innocent X. ; 43, 45.

Van Bloemen (Orizzonte), Landscapes; 60. Salvator Rosa, Beli-

o ,

Z I

Quail o lira c cio

5 1

s !

I n

CCOll

13 r

cio

Via, del Corso

sarius. — We now return through Room I to the principal rooms
(Galleria Grande) surrounding the arcaded court (see p. 207).

I. Gallery (Primo Braccio): 70. Ouercino, John the Baptist;
71, 72. Claude Lorrain, Landscapes with mythological figures; 74.
Ann. Carracci, Nativity; *76. Claude Lorrain, Landscape with a
temple of Apollo ; Ann. Carraeci, 78. Assumption, 80. Flight into
Egypt, 82. Pieta, 84. Adoration of the Magi, 86. Entombment;
Claude Lorrain, *88. 'The Mill', a masterpiece (see p. 207), 92.
Landscape with the Flight into Egypt; 94. Carlo Maratta, Madonna;
108. Jan Both, Landscape with the Flight into Egypt. — At the
end of this gallery, to the left, is a Cabinet containing: **118.
Velazquez, Pope Innocent X.

'The blue-grey eye set in the ugly visage gazes at us ; there lies the
power — not in the purple vestment nor the glittering gold .... It is
the gaze of a man determined to read the thoughts of all who approach
him, to impress their personality for ever on his mind, conscious as he
is of the infallibility of his decisions.' Jtisti.

The cabinet contains also a bust (17th cent.) of this Pope. —
Opposite the «■"* of t.lifi r.ahinet is the —

b. Doria Gallery. ROME. JI. B. on the Tiler (L.B.). 209

II. Gallery (Secondo Braccio), with a few antique sculptures,
leading to five smaller rooms. The first of these is Room III. 120.
Mazzolino, Massacre of the Innocents; 125. Boccaccino, Madonna
with saints; 128. School of Ferrara (Mazzolino), Expulsion of the
money-changers; 140. Parentino, Temptation of St. Anthony; 137.
Mazzolino, Entomhment. — Room IV. 143. Copy of Raphael, Ma-
donna del Passeggio ; 144. Garofalo, Holy Family with two Francis-
cans; 153. Dutch Copy of Raphael, Joanna of Aragon; 156. Fra
Paolino da Pistoja, Holy Family; 158. School of Michael Angela,
(Seb. delPiombo?), Holy Family; *159. Nic. Rondinelli, Madonna;
161. Oarofalo, Visitation (1518); 163. Nic. Rondinelli, Madonna;
164. Andrea Solaria, Christ hearing the Cross; 165. Ortolano, Nati-
vity; 170. Dosso Dossi(?~), Portrait; 171. Unknown Master, Portrait
of Machiavelli. — Room V. 173. Quentin Massy -s , Money-changers
quarrelling; 175. Brueghel, Holy Family; 180. St. Enstachius, from
an engraving by Dtirer; 189. A. van Dyck, Portrait; 192. Jan Scorel,
Agatha van Schoenhoven; 196, 208. German School, Portraits (1545);
197, 200, 206, 209. Brueghel, The four elements. — Room VI.
Tenters the Younger, 215. Rural festivity, 218. Tavern-scene; 231.
Rubens, A Franciscan ; 266, 241, 253, 258. Weenix, Market-scenes.

— Cabinet. Small Dutch landscapes and three modern busts of
members of the Doria family. — We retrace our steps and, turning
to the left on quitting R. Ill, enter the —

III. Gallery (Terzo Braccio). *277. Paris Bordone, Venus,
Mars, and Cupid; 298. Sassoferrato, Holy Family; 290. Lor. Lotto,
St. Jerome; 291. Jan Lievens (Andrea Comodi?), Abraham's sacri-
fice; 295. Guido Reni, Madonna; *296. Rembrandt, The Shepherd
(1649; damaged); 299. Nic. Poussin, Copy of the Aldnbrandini
nuptials (p. 367); 307. Luca Giordano, The Cook; 315. Bern. Lici-
nio, Portrait. — A few steps descend to the left to the —

Salone Aldobrandini, also used as the copying-room, to which
the finest pictures in the collection are frequently brought. On the
walls are landscapes by Gasp. Poussin and his followers. — Anti-
quities: on the steps to the right, corresponding to those at the
entrance, Replica of the so-called Artemis of Gabii in the Louvre ;
iu front of the fireplace, Ulysses escaping from the cave of Poly-
phemus ; in the centre of the wall opposite the entrance, Archaistic
statue of the bearded Dionysus ; in the centre, Young Centaur (entire
front part modern) and a round altar with delicate ornamentation.

— We re-ascend the steps and enter the —

IV. Gallery (Quarto Braccio). 373. Sofonisba <f Anguisciola,
Portrait of a man and woman; 376. Sassoftrrato, Madonna; 384.
Saraceni, Repose on the Flight into Egypt; 386. Titian, Portrait;
387. Copy of Correggio, Triumph of Virtue (ground-colour in tem-
pera, unfinished) ; *388. Titian, Daughter of Herodias (early work);
390. Jac. Bassano, Portrait; *403. Raphael, Navagero and Beazzano,
two Venetian solinlars! nf tVio mo.t»i's Roman period; 406. Led.

B , . ..,..,,„„ii. 14

210 II, R. on the Tiber (L. B.). ttUmii. u. Santi Apostoli.

Carracci, St. Sebastian; 407. Venetian School (Lor. Lotto), Portrait;
410. Old Copy of Giorgiones (?) Concert, in the Palazzo Pitti; 411.
Dosso Dossi, Dido lamenting; 420. School of Michael Angelo, Christ
on the Mount of Olives.

The Via della Gatta, skirting the "W. side of the Palazzo Doria
ends to the S. in the Via del Plebiscito (p. 223), opposite the
Palazzo Venezia.

Returning to the E. from the Piazza del Collegio Romano, past
Santa Maria in Via Lata (p. 201), to the Corso, and thence con-
tinuing straight on by the Via Santi Apostoli, -we reach the Piazza
di Santi Apostoli (PL II, 21). The E. side of this oblong space is
occupied by the church of the Santi Apostoli and the main facade of
the Palazzo Colonna; and the S. end is skirted by the Via Nazionale
(p. 174).

The church of the Santi Apostoli was founded by Julius I. (337-
352) in honour of SS. Philip and James, re-erected under Pelagius I.
(555-560) and under Clement XI. by Franc. Fontana in 1702, and
restored after a fire in 1871. The vestibule, erected by Oiac. diPie-
trasanta (?) for Julius II. (while cardinal), the only part of the
earlier fabric, contains (left) the monument of the engraver Giov.
Volpato by Canova (1807); to the right of the main portal, the re-
mains of the tomb (by Luigi Capponi) of Lor. Colonna, who was
executed in 1484; and at the end to the right, an admirable ancient
eagle in a garland of oak-leaves, from Trajan's Forum.

Interior. At the end of the left aisle, to the left, over the entrance
to the sacristy: Monument of Clement XIV. by Canova; on the pedestal
Charity and Temperance. In the tribune, with altar-piece by Muratori
(said to be the largest in Rome), is the monument erected by Sixtus IV. to
his nephew, Cardinal Pietro Riario (d. 1474), by Mino da Fieeole and Andrea
Bregno. Opposite is the tomb of Giraad (d. 1505), husband of the niece
of Julius II. On the vaulted ceiling of the tribune, Fall of the Angels, a,
fresco by Giov. Odassi, in the baroque style, but of striking effect. The
older church was decorated by Melozzo da Forli, a fine fragment of whose
frescoes is now in the Quirinal (p. 178), and others are in the sacristy of
St. Peter's (p. 327). — The crypt contains the tomb of Raffaello della Rovere,
father of Julius II (1477), a tine early-Renaissance work.

The adjacent monastery contains, in a niche in the corridr next to the
church, the tomb of Card. Bessarion (d. 1472) and, nearer the exit, a monu-
ment to Michael Angelo, who lived and died in the pariah of Santi Apostoli.

The *Palazzo Colonna (PI. II, 21), an extensive pile between
the Piazza Santi Apostoli and the Via Pilotta, bounded on the S.
by the Via Nazionale (p. 174), was built by Martin V. (Colonna)
subsequent to about 1417, and much extended and altered in the
17th and 18th centuries. The *Galleb.ia Colonna on the first floor
(adm., see pp. 150, 151; fee of about 1/2 fr. on leaving; catalogue,
1900, 1 fr.) is entered from No. 17 Via della Pilotta (pp. 162, 177),
at the back. The street is spanned by three arches connecting the
upper floor of the palace with its garden (p. 212).

In the vestibule is an antique figure of a girl playing with
astragali.

b. Galleria Colonna. ROME. II. B. on the Tiber (L. B.). 211

I. Room. From right to left: 17. Tintoretto, Narcissus, in a
flue landscape; 22. Pietro Novelli, Marcantonio Colonna ; 23. Oirol.
Muziano, Vittoria Colonna, the friend of Michael Angelo; 24.
Lor. Lotto, Card. Pompeo Colonna, much damaged; 25. Seb. del
Piombo, A member of the Colonna family as a general; 6. Tin-
toretto, Adoration of the Holy Ghost, with four half-length portraits
beneath; 4. Ag. Carracci, Pompeo Colonna; 9. Bronzino, Venus
and Cupid; 8. Follower of Hieron. Bosch (not CranacK), Temptation
of St. Anthony; 10. Van Dyck, Lucrezia Colonna; 11. Bart, di
Giovanni, Reconciliation between the Romans andSabines; *12.
Bonifazio I. (not Titian), Madonna with saints (an early work);
13. Pietro Novelli , Isabella Colonna and her infant son Lorenzo
Onofrio; 14. Bart, di Giovanni, Rape of the Sabines ; *15. Palma
Vecchio, Madonna with St. Peter and the donor. — The 16th cent.
Renaissance column of red marble (Columna Bellica) in the centre
of the room, with scenes from a campaign in relief, is the emblem
of the Colonna family.

A flight of seven steps, on which a cannon-ball fired into the city
during the bombardment of 1849 has fixed itself, descends to the —

II. Gallery (Gran Sala), with gorgeous decorations by Antonio
del Grande and Girolamo Fontana, and ceiling-paintings by Colt
and Gherardi (Battle of Lepanto, 8th Oct., 1571, which Marcant-
onio Colonna at the head of the papal fleet assisted in gaining).
On the walls are mirrors painted with flowers (by Mario de' Fiori)
and putti (by C. Maratta). The antique statues and reliefs here
are of no great value and most of them are freely restored. Paint-
ings: right wall, 38. Scip. Gaetano, Family group of the Colonnas
(1581); 35. School of Van Dyck, Don Carlo Colonna, equestrian
portrait; 32. Franc. Albani, Pieta; 49. Sustermans, Fed. Colonna.
Left wall: 30. Jac. Tintoretto, Double portrait; 31. A'. Poussin,
Cimone and Eflgenia (Boccaccio's Decamerone V, 1); 39. Niccolo
Alunno, Madonna rescuing a child from a demon. Under the fourth
window is a beautiful Greek relief of a dead youth.

III. Room. Twelve water-colour *Landscapes by Gaspard Pous-
sin, which are among his finest works and the most valuable in this
gallery. Some of them are unfavourably hung , but every one of
them will repay careful inspection (entrance-wall: 54, 55, 87-89 ;
opposite, 69; on the left wall, 56, 68; on the right wall, 84, 85,
76, 77). The subjects include a mountain-road close to a profound
ravine, a bleak plain lashed by a storm, a calm lake enclosed by
majestic trees, a riven rocky -landscape with waterfall, and various
other scenes. Notwithstanding the simplicity and uniformity of the
materials used, these works will not fail to interest by the excel-
lence of the composition and drawing. — Left wall : 62. N. Poussin,
Metamorphosis of Daphne. Also, large cabinet with ivory carving
by Franz and Bom. Steinhard (in the centre, the Last Judgment,
after Michael Angelo).

14»

212 H. R. on the Tiber (L.B.). KUMK. b. uaueria Colonna.

IV. Room. Ceiling-painting by Batoni and Luti (in honour of
Martin V.). Entrance-wall: Over the door, 92. Paris Bordone (not
Bonifazio), Madonna and saints ; *90. P. Veronese, Portrait of a man ;
118. Holbein (?), Lor. Colonna. Right wall: 116. Paris Bordone,
Madonna with saints (darkened); 115. Ann. Carracci, Lentil-eater;
112. Spagna, St. Jerome, noteworthy; 111. Albani, Rape of Europa.
Exit- wall : 109. Oirolamo da Treviso, Portrait, described without
evidence as Poggio Bracciolini; 106. Bronzino, Holy Family; 107.
Titian, Monk (the name Onuphrius Panvinius is erroneous); 104.
Oiov. Bellini, St. Bernard. Window-wall: 96. Ouido Reni, St.
Agnes ; Tintoretto, 94, 95. Two portraits.

V. Room. Throne-room, with handsome old Persian carpet. Above
the table on the right is a chart said to have been used by Marcan-
tonio Colonna at the battle of Lepanto (p. 211); above the table on
the left is the diploma of honour sent to him by the Roman senate
after the battle. The throne-chair is intended for the Pope's nse
only and is therefore turned towards the wall.

VI. Room. Entrance-wall: 122. Parmeggianino, Holy Family;
121. Innoc. da Imola, Same subject. 120, 123. Mabuse (?, not Van
Eycle), Two Madonnas surrounded by smaller circular pictures of the
joys and sorrows of the Virgin; of miniature-like execution. Right
wall: 130. Stefano da Zevio (not Oentile da Fabriano), Madonna;
132. Oiulio Romano, Madonna (comp. p. lxxii) ; 131. Catena(l!),
Madonna; 133. Melozzo da Forl't (more probably Florentine School),
St. Rochus ; 134. Jacopo degli Avanzi of Bologna, Crucifixion ; 135.
Oiov. Santi (p. 128), Portrait; 136. Bugiardini, Madonna. Exit-
wall: 140. School of S. Botticelli, 141. Longhi, Madonnas.

The Villa Colonna, or garden of the palace (comp. p. 210), for which
a permesso must be obtained at the palace (Piazza Apostoli), is open on
Wed. forenoon (entrance at No. 15 Via del Quirinale, p. 116; fee to the
gardener). It contains several antiquities, fragments of a colossal architrave
from the so-called Frontispizio de Nerone, a building pulled down about
1620, to which the legend now related of the Torre delle Milizie (p. 176)
formerly attached , and considerable portions of the brick-walls of the
Thermae of Constantine (?), which formerly extended over the entire Piazza
del Quirinale (p. 177). The terrace commands a good survey of the city.

c. From the Piazza di Spagna to the Ponte Sant' Angelo.

The Omnibuses plying between the Piazza di Spagna and the Vatican
do not traverse the direct route described below, but go through side-
streets (comp. Appendix, No. 19).

The chief side-street diverging from the N. portion of the Corso
is the Via Condotti (PI. 1, 18), which, with its W. continuation the
Via Fontanella di Borghese, forms the shortest route between the
strangers' quarter near the Piazza di Spagna and the Vatican quarter
(about 18 min. walk to the Ponte Sant' Angelo). The street con-
tains nothing of interest beyond its shops. It crosses the Corso to
the S. of San Carlo (p. 198).

On the other side of the Corso the street takes the name of Via

c. Pal. Borghese. ROME. II. B.on the Tiber (L.B.). 213

Fontanella di Borghese (PI. I, 18). Behind us the chinch of
Santissima Trinita de' Monti (p. 159) forms a handsome termination
to the street. The chief building is the —

Palazzo Borghese (PI. I, 15, 18), begun by order of Card. Dezza
in 1590 by Mart. Lunghi the Elder, and completed by Flaminio Pomio
(d. 1615) by order of Paul V., through whom it came into the pos-
session of the Borghese family. The *Cotjrt is surrounded by a
tasteful colonnade in two stories, with clustered granite columns, and
contains three ancient colossal statues. At the end of the colonnade
on the right is an important fragment of a marble statue represent-
ing an Amazon who has fallen from her horse (copy of a Greek
original of the 4th cent. B.C.). Behind the court lies the small gar-
den , containing three baroque fountains by Carlo Rainaldi , and
some trifling antiquities. The groundfloor, which formerly contained
the celebrated picture-gallery, removed to the Villa Borghese in 1891
(p. 192), is now occupied by Sangiorgi, the dealer in antiquities
(p. 141). The decoration of the first room, executed by Carlo Villani
in grisaille and gold, is noteworthy, as is also the seventh room, the
walls of which are covered with mirrors, painted in oil with Cupids
(by Ciro Ferri) and wreaths of flowers (by Mario de' Fiori). — The
W. side of the Palazzo Borghese faces the little Piazza Borghese.
The Palazzetto Borghese, on the opposite side of this piazza, is said
to be the 'Palazzo Clementi' of 'Mademoiselle Mori' (p. xxviii).

The street skirting the long S.W. side of the Palazzo Borghese leads
to the site of the old harbour, Porto di Ripetta, whence the P^nte Cavour
(PI. I, 15), completed in 1902, crosses tbe river to the Prati di Castello
(p. 316). The picturesque rococo flight of steps built at the harbour by
Clement XI. has been sacrificed to the regulation of the Tiber.

To the right in the Via di Ripetta is the church of San Rocco (PI. I, 15),
built in 1657 by Giov. Ant. de' Rossi, a little beyond which is a quaint
fountain. — To the left, farther to the N., is a building erected about 1840,
with a cen ral part in the shape of a horseshoe (II Ferro di Cavallo), the
lelt wing of which, at No. 21§b, contains studios belonging to the Acca-
demia di Belle Arti, or di San Luca (p. 272). — The N. end of the Via di
Ripetta debouches in the Piazza del Popolo (p. 156).

Beyond the Piazza Borghese the street assumes the name of Via del
Clementino (PI. I, 16), and intersects the Via di Ripetta (see above)
and the Via della Scrofa (p. 214), which here unite. To the left
in the Via del Clementino is the new Palazzo Oalitzin, an imitation
of the Pal. Giraud (p. 317), in front of which is the little Piazza
Nicosia. Farther on the street is known as the Via di Monte Brianzo
(many antiquarian shops). At the end of this, to the left, is the
Albergo delV Orso, one of the few remaining mediaeval private houses
of Rome; Montaigne lived here in 1536. From tbe little piazza
farther on, the new Ponte Umberto Primo (PI. I, 15) spans the river
to the right, while the Lungo Tevere Torre di Nona skirts the Tiber
to the Ponte Sant' Angelo (p. 313), reached in about 10 min. from
the Palazzo Borghese.

214 11. R. on the Tiber (L. B.). ROME. c. Sanf Agostino.

Turning to the S. from the Via del Clementino, we entei the
Via della Sckofa (PI. I, II, 15), which leads direct to San Luigi de'
Francesi (p. 220). In the third cross-street to the right (Via Porto-
ghese) is the mediaeval Torre della Scimia , usually identified as
'Hilda's Tower', described by Hawthorne in his 'Marble Faun' (p. 246).
Taking the next cross-street, we reach the piazza and church of —

Sanf Agostino (PI. II, 15). The latter was erected by Oiac. da
Pietrasanta in 1479-83 by order of Card. d'Estouteville, the protector
of the Augustinians, on the site of an old oratorium. This was the
first domed ecclesiastical edifice in Rome. The interior, in the form
of a Latin cross, was restored in 1750, and finally in 1860, when it
was adorned with frescoes by Oagliardi.

Interior. On the entrance-wall a Madonna and Child ('Madonna del
Parto'), in marble, by Jac. Sansovino (1521), surrounded by numerous votive
offerings. — In the Nave, on the 3rd pillar to the left, Raphael's Prophet
Isaiah, holding a scroll with the words from Is. xxvi, 2, painted in 1512,
but partly retouched by Dan. da Volterra and much injured. In the
execution of this work the great master has been visibly influenced by
Michael Angelo's prophets in the Sistine Chapel. In the 2nd Chapel in the
Eight Aisle, Nucci's free copy of the lost Madonna della Rosa of Raphael; in
the 4th, Christ delivering the keys to Peter, a group by Giov. Bait. Cotignola.
— The Eight Transept contains the chapel of St. Augustine with an altar-
piece by Guercino: St. Augustine between John the Baptist and St. Paul
the Hermit.

The High Altar was decorated by Bernini; the picture of the Madonna is
said to have been painted by St. Luke, and brought from the church of St.
Sophia at Constantinople. In the chapel on the left of this is the tomb of
St. Monica, mother of Augustine, by Isaia da Pisa, almost completely
destroyed in 1760; altar-piece by Gotlardi.

The small Vestibule to the left of the left transept contains a statue
of the Madonna and a Pieta by Giov. Dalmata. — The 2nd Chapel in the
Left Aisle contains a fine group in marble (St. Anna, Mary, and Jesus) by
Andrea Sansovino (1512), executed at the expense of Joh. Goritz (Coricius)
of Luxembourg and originally placed under Raphael's Isaiah, which also
was painted for Goritz.

To the right of the church is the entrance to the Bibluteca Angelica,
founded in 16)4 (adm., see p. 146). The former Convent of Sanf Agostino
is now the Ministry of Marine. In the court are a few Renaissance tombs,
including that of Bishop Jacopo Piccolomini (d. 1479), of the school of
Mino da Fiesole.

Proceeding from the Piazza Sant' Agostino straight through the
archway, we reach the piazza and old church of SanV Apollinare
(PI. II, 15), rebuilt in 1552, and finally in 1750 by Fuga. — Op-
posite is the Palazzo Altemps, of the 16th cent., completed by the
elder Lunghi, possessing a handsome double court with arcades and
a few antiques. It is now ecclesiastical property.

The Via db' Coronaki (PI. II, 15, 12), running to the W. be-
tween the Piazza Sant' Agostino and Piazza Sanf Apollinare and the
Piazza Navona (p. 220), ends near the Ponte Sant' Angelo. About half-
way is the rear facade of the Palazzo Lancellotti, erected under
Sixtus V. by Francesco da Volterra, and completed by C. Maderna.
The portal on the N. main facade is by Domenichino . The court con-
tains ancient statues and reliefs. In the private apartments of Prince
Lancellotti, shown ^- — "-1 ""«"•«*<"< ""i« ^*^a. the celebrated

d. Piazza di Monte Citorio. ROME. //. R.onthe Tiler (L. B.). 215

Discus Thrower, found on the Esquiline in 1761, a marble copy of
the bronze statue by Myron (p. 350).

Farther on, to the right, is the church of San Salvatore inLauro
(Pl.II, 121, mentioned in the 13th cent., but rebuilt in 14f Oand 1591.

The elegant cloisters, with their double arcades, date from the early
Renaissance period. The old rrfect iry (fee) contains the monument of Pope
Eugenius IV. (d. 1447), brought hither from old St. Peter's. This work,
by Isaia di Pisa, is the earliest example of a mural monument constructed
throughout of purely Renaissance elements : on the sarcophagus is a recumb-
ent figure of the deceased, with a Madonna and two ang-ls above, and
statues of saints on the pilasters of the surrounding niches. The Renaissance
tomb of Maddalena Orsini (15th cent.) is also shown.

At No. 124 Via de' Coronari (to the left) is the so-called Casa
di Raffaele, the rent of which was devised by Raphael in his will for
the maintenance of his tomb in the Pantheon (p. 217). The house
in which Raphael lived and died was situated in the Borgo(p. 317).

Side-streets at the end of the Via de' Coronari lead to the right
to the Ponte Sant' Angelo (p. 313) and to the left to the W. end of
the Corso Vittorio Emanuele (p. 227).

For the adjacent churches of SantaMaria delV Anima and Santa
Maria delta Pace, see pp. 221, 222; Piazza Navona, see p. 220.

d. From the Piazza Colonna past the Pantheon to the Piazza
Navona (Circo Agonale) and thence to the Ponte Sant' Angelo.

Piazza Colonna, see p. 200. — The side-streets to the right and
left of the colonnade on the W. side of the Piazza Colonna lead to
the Piazza di Monte Citorio (PI. II, 18). The rising in this piazza
is entirely due to buried ruins, at one time erroneously believed to
be those of the amphitheatre of Statilius Taurus, but really those
of the Vstrinum, or construction used for the solemn cremation of
the bodies of the emperors at their apotheosis.

On the N. side of the Monte Citorio stands the spacious Camera
de' Deputati (PI. II, 18), begun for the Ludovisi family by Ber-
nini (1650), but finished under Innocent XII. by C. Fontana for
the papal tribunal. The building was fitted up and the court in the
interior roofed over in 1871 for the use of the Italian parliament.
The sittings usually take place in the afternoon. Entrance to the
public seats at the back, No. 10.

The Obelisk which has occupied the centre of the piazza since
1789 was, like that in the Piazza del Popolo (p. 156), brought to
Rome by Augustus. In antiquity it stood near the site of the pre-
sent church of San Lorenzo in Lucina (p. 198), and was used as the
indicator of a sun-dial. It was originally erected in Egypt in the
7th cent. B.C. by Psammetichus I. Height, including the globe
and pedestal, 84 ft.

The usually animated Piazza of the Pantheon (Piazza della
Rotonda; P' TT 18"> mav he. roacbori lion™ Tw turning to the S. at the

216 U. B. on the Tiber (L.B.). ROME. a. Pantheon.

foot of the Monte Citorio and then to the right (E.), crossing the
small Piazza Capranica (the street to the right leads hence to Sant'
Agostino and the Via de' Coronari, p. 214). Above the large Fountain
in the Piazza della Kotonda, erected under Gregory XIII. in 1575,
was placed the upper end of a broken obelisk from the temple of Isis
(p. 203) by order of Clement XI.

On the S. side of the piazza rises the church of Santa Maria Ro-
tonda, or the **Pantheon, the only ancient edifice at Rome which is
still in perfect preservation, i.e. the only one the walls and the
vaulting of which still stand. The foundation of the building dates
from the time of Augustus, whose son-in-law Agrippa erected a temple
in 27 B.C. at the N. end of his Thermae (p. 218) in the Campus
Martius. This building, which may once have had an umbelliform
roof supporting the pine-cone mentioned on p. 357, received the
name of 'Pantheum' (i.e. 'very sacred', not 'temple of all the gods')
and seems to have been dedicated to the gods of the seven planets
(Apollo, Diana, Mercury, Venus, Mars, Jupiter, and Saturn). It
was struck by lightning in the reign of Trajan and was restored by
Hadrian. Only the portico was left substantially unaltered by this
restoration ; to Hadrian is due the whole of the present circular build-
ing, including the beautiful dome. A subsequent restoration took
place under Septimius Severus and Caracalla. After the expiry of
pagan worship the Pantheon stood unoccupied until Phocas, tyrant
of the East, presented it to the pope. Boniface IV. consecrated it
as a Christian church on May 13th, 609, dedicating it to all saints
under the name of Sancta Maria ad Martyres, on which occasion
twenty -eight waggon -loads of the bones of martyrs were brought
hither from the catacombs. The emperor Constans II. removed the
bronze-gilt tiles of the roof to Constantinople in 662. Gregory III.
(731-41) covered the dome with lead. Throughout the middle ages
the building was regarded as an emblem and chief ornament of the
city, and in the 13th cent, every senator was obliged to take an
oath to defend and preserve for the pope 'especially St. Peter's, the
Leonine city, Trastevere, the Island, the Castello Sant' Angelo,
and Santa Maria Rotonda.' Since then the Pantheon has been fre-
quently restored.

The Portico (36 yds. wide, 14 yds. deep), to which rive steps
ascended in antiquity (now covered by the raising of the ground all
around), is borne by sixteen Corinthian columns of granite, l^/jft.
in circumference, and 41 -ft. in height. On the architrave is the in-
inscription of the original erection (M. Agrippa consul tertium
fecit), renewed in tasteless modern lettering in 1894 ; the long in-
scription below refers to the restoration under Severus and Cara-
calla. The tympanum above formerly contained reliefs. Eight of
the columns are in front; the others form three colonnades origin-
ally vaulted over, the outer ones terminating in niches , in which
stood the colossal statues of Augustus and his son-in-law M. Agrippa.

d. Pantheon. ROME. II. B. on theTiber(L. B.). 217

In 1632 Pope Urban VIII. (Barberini) removed the brazen tubes on
which the roof rested, and caused them to be converted into columns
for the canopy of the high-altar of St. Peter's and 110 cannons for the
castle of Sant' Angelo. This vandalism gave rise to the epigram of
Pasquino, 'Quod non fecerunt barbari, fecerunt Barberini . The two
campanili, 'Bernini's ass's ears', as they were derisively termed,
erected under the same pope, were removed in 1883. — The
entranse is still closed with its ancient massive bronze doors.

The Interior (closed at midday), lighted by a single aperture
30 ft. in diameter in the centre of the dome, produces so beautiful
an effect that it was currently believed even in antiquity that the
temple derived the name of Pantheum from its resemblance to the
vault of heaven (comp. p. lvii). The height and diameter of the
dome are equal, being each 142 ft. The pavement of granite, por-
phyry, and costly marbles was restored in the pontificate of Pius IX.
The surface of the walls is broken by seven laTge niches, in which
stood the statues of the gods (comp. p. 216; Mars and "Venus are
authenticated). The architrave is borne by fluted columns of giallo
antico or pavonazzetto in couples, the shafts being 29 ft. iu height.
Above the latter, and corresponding with the niches, formerly rose
a series of round arches, borne by Caryatides, but they appear to
have been removed during the restoration of the edifice in antiquity.
The white marble, porphyry, and serpentine decorations of the
attica or attic story remained in part till 1747, when they were bar-
barously replaced by whitewash. The dome, consisting of concrete,
is adorned on the inside with five rows of coffers or cassettes, which
were perhaps originally painted to imitate the firmament, with gilt
stars on a blue ground. The elegant bronze cornice round the inner
edge of the opening is the only part of the original decoration now left.
In the second recess to the right of the high-altar is the tomb of Victor
Emmanuel II. (d. Jan. 9th, 1878) ; between it and the altar is that of Humbert I.
(assassinated July 29th, 1900); both are always covered with wreaths.
An annual funeral mass is celebrated in the Pantheon a few days alter
Jan. 9th, to which the public are admitted by tickets, to be obtained from
the consuls or other influential persons. — In the chapel to the left of the
high-altar stands the simple monument of Card. Consalvi (buried in San Mar-
cello, p. 201), by Thorvaldsen.

By the 3rd altar to the left is Raphael's Tomb (b. 28th March, 1483; d.
6th April, 1520), with a bronze bust erected in 1883, and the graceful epi-
gram composed by Card. Bembo: —

Hie hie est Raphael, timuit quo sospite vinci

Rerum magna parens, et morienle mori.
Pope, in his 'Epitaph on Sir Godfrey Knellei-% translates this as follows: —

'Living, great Nature feared he might outvie

Her works; and, dying, fears herself may die\
The Italian translation runs thus : ' Questi e quel Raffaele, cui vivo vinta
Bsser temea Natura, e morto estinta\

The statue of the Madonna on the altar, by M. Lorenzello, was executed
in accordance with Raphael's last will. Above the empty niche to the
right of the altar is the epitaph of Maria Bibbiena, Raphael's betrothed, who
died before him.

The Pantheon is also the last resting-place of Bald. Peruzzi, Perin
del Vaga, "*~~ J" TTJ;-- * — " ; "Video Zuccaro, and other

218 II.R.ontheTiberfL. B.). ROME. d. S.Maria sopra Minerva.

celebrated artists. — The altars and recesses are adorned with paintings
and sculptures of the 18th century.

At the back of the Pantheon, but with no connection with it,
lay the Thermae of Agrippa, considerable remains of which were
exhumed in 1881-82; and the rear wall of a hall, with a large recess,
was brought to light in the Via della Palombella (p. 219). A fluted
column and a finely executed frieze (shells and dolphins), both of
marble, have been found and placed in position. The ruins known
as the Arco della Ciambella, in the street of the same name,
belonged to another domed hall of the thermae.

From the Piazza of the Pantheon we may follow the Via del
Seminario towards the E., to Sant' Ignazio (p. 203).

Behind the Pantheon to the S.E. lies the Piazza della Minerva
(PI. II, 18), where the church of Santa Maria sopra Minerva stands
on the left, and the Hotel Minerva (p. 135) opposite to us. In the
centre of the piazza is a marble elephant, on the back of which a small
ancient Obelisk was placed by Bernini in 1667 (p. 203). On the
outside of the church, to the right, are flood-marks which show that
in the inundations of 1530, 1557, and 1598 the water rose even
higher than in the greatest modern floods (1870 and 1900).

*Santa Maria sopra Minerva, erected on the ruins of a temple of
Minerva founded by Domitian, the only ancient Gothic church at
Rome, was probably begun about 1280 by Fra Sisto and Fra Ristoro,
the builders of Santa Maria Novella at Florence (p. lxiii). It was re-
stored and re-decorated with painting in 1848-55, and contains
several valuable works of art.

Interior. By the entrance- wall, on the right, the tomb of the Florentine
exile Diotisalvi (d. 1482). — Left Aisle. On the left, the tomb of the Floren-
tine Franc. Tornabuoni (d. 1480), by Mino da Fiesole; above it the monument
of Card. Giac. TebaJdi (d. 1466), from the studio of Andrea Bregno and
Giov. Dolmala. To the right of the altar in the 3rd Chapel, St. Sebastian, an
admirable work by Michele Mar'mi. In the 5th Chapel is (r.) the monument of
Princess Lante , by Tenerani. — Right Aisle. In the Camera Mortuaria
(locked), between the 3rd and 4th chapels, is the tomb of .loh. Alberini
(d. ca. 1490), with an ancient Greek sarcophagus (Hercules throttling the lion).
In the 4th Chapel, the Annunciation, a picture on a golden ground, by An-
toniazzo Romano ; in the foreground Card. Juan de Torquemada (Johannes a
Turrecremata) recommending three poor girls to the Virgin, painted to
commemorate the foundation of the charitable fraternity of theSantissima An-
nunziata in 1460; on the left the tomb of Urban VII. (d. 1590), by Arabr.
Buonvicino. The 5th Chapel (Aldobrandini) contains paintings by Cherub. Al-
bert*; over the altar the Last Supper by Baroccio ; monuments of the parents
of Clement VIII. by Giac. della Porta. In the 6th chapel is the tomb of the
Venetian patrician Benedictus, Archbishop of Nicosia (d. 1495); opposite, the
tomb of the Spanish bishop, Joh. Didacus de Coca (15th cent.); above the
sarcophagus, a fresco by Melozzo da Forli (?). — Right Tkansept. A small
chapel on the right is first observed, containing a wooden crucifix attributed
to Giotto; then the "Caraffa Chape), with a handsome balustrade painted
by Filippino Lippi with frescoes in 1487 (restored) : on the right' Thomas
Aquinas, surrounded by allegorical figures, defending the Catholic religion
against heretics; in the lunette, St. Thomas and the Miracle of the Cross-
on the wall at the back, the Assumption of the Virgin ; altar-wall the An-
nunciation, with a portrait of the donor Card. Caraffa; sibyls on the vault-
ing by Raffaellino del *»«•■?><•■ «" «"> '«« "■" ~.™..™™* """ml IV. (d. 1559)

d. Univ. della Sapienza. ROME. II. B. on the Tiber (L. BJ. 219

designed by Pirro Ligorio, executed by Oiac. and Tom. Casignola. — By the
wall to the left of the Caraffa chapel, "Tomb of Bishop Guiliel. Durandus
(d. 1296), with a Madonna in mosaic by Johannes Cosmas, one of the best
works of that school. The next chapel contains an altar-piece by C. Maralta.
In the following Cappella del Rosario, to the right of (he choir, is the tomb
of Card. Capranica (about 1470). — The Choik contains the large monuments
of the two Medicis, (1.) Leo X. (d. 1521), and (r.) Clement VII. (d. 1534), de-
signed by Ant. da Sangallo; the figures of Virtues are by Baccio Bandinelli,
the statue of Leo by Raffaello da Afonlelupo, and that of Clement by Nanni
di Baccio Bigio. On the pavement the tombstone of the celebrated scholar
Pietro Bembo (d. 1547). — The high-altar contains the relics of St. Cathar-
ine of Siena (p. 35).

In front of the high-altar, to the left, is ""Michael Angelo's Christ with
the Cross, which was ordered by Metello Vari and P. Castellari in 1514,
and erected in 1521. Pietro Urbano, an assistant of the great master, was
entrusted with the final touching up of the work after its erection, but
as he acquitted himself badly, the finishing strokes were given to it by
Roderigo Frizzi. The nudity of the figure is justified by the master's in-
tention to portray the Risen Christ, but it is now marred by a bronze
drapery ; the right foot also is protected against the kisses of the devout,
by a bronze shoe (comp. p. lxvii).

From the chapel on the left of the choir is a passage to the Via Sant1
Ignazio; on the wall, to the left, the tombstone of Fra Giovanni Angelico da
Fiesole, who died in the neighbouring monastery in 1455, with his portrait
and the inscription : Hie jacel Venerabilis pictor Prater Joannes de Florentia
Ordinis praedicatorum It LV. — In the Left Transept is the Chapel of
San Domenico, with 8 black columns, and the monument of Benedict XIII.
(d. 1730) by P. Bracci. Adjacent, to the right, is the entrance to the sacristy,
behind which is shown the Chamber in which St. Catharine of Siena died
(see above), removed hiiher in 1737. The frescoes are very badly lighted.

The adjoining Monastery, formerly the residence of the chief of
the Dominican order and the seat of the Inquisition, was the scene
of Galileo's trial in 1633 (comp. p. 158). It now contains the offices
of the Minister of Education (Ministero dell' Istruzione Pubblica) and
the Biblioteca Casanatense (p. 146 ; entrance Via di Sant' Ignazio 52).
The convent-court (no admission) contains the tombs of Ferricei
(d. 1478), with a relief of the Madonna from the studio of Mino da
Fiesole, and of Astorgio Agnense (d. 1451). In the passage which
used to lead to the library is the tomb of Andrea Bregno, with a
bust of the master (1506).

A little to the E. are the church of Sant' Ignazio (p. 203) and the
Collegio Romano; to the S. are the Gesii (p. 223) and the beginning
of the Corso Vittorio Emanuele (p. 223).

We return towards the Pantheon and, following the Via della
Palombella (p. 218), which skirts it on the S., reach the Piazza Sant'
Etjstachio (PI. II, 15). At the "W. end of this piazza lies the —

University della Sapienza (PL II, 15 ; entrance. Via della Sa-
pienza 71), founded in 1303 by Boniface VIII., and after a rapid
decline re-established by Eugene IV. It attained its greatest pros-
perity under and owing to Leo X. It possesses four faculties (law,
medicine, physical science, and philology) and is connected with
institutes for the study of economics, pharmacy, and archaeology. It
contains several natural historv collections and the Biblioteca Ales-

220 II. R. on the Tiber (L.B.). ROME. d. Piazza Navona.

sandrina (p. 146). The present building was designed by Oiac. della
Porta. The church (Sant' Ivo), with its grotesque spiral tower, was
designed XiyBorromini in the form of a bee, in honour of Urban VIII.
(Barberini), in whose armorial bearings that insect figures. The
colonnaded court, in two stories, is among the most imposing in
Rome. — Side-streets lead hence to the S. to the Corso Vittorio
Emanuele (p. 223), while the Via degli Staderari leads to the N.W.
to the main facade of the Palazzo Madama.

The Palazzo Madama (PI. II, 15), originally built at the close
of the 15th cent., derives its name from Margaret of Parma, natural
daughter of Charles V. and afterwards Regent of the Netherlands,
who occupied it during the pontificate of Paul III. Previously and
subsequently it belonged to the Medici, afterwards grand-dukes of
Tuscany, by whose orders Oiov. Stef. Marucelli of Florence altered
it to its present form in 1642. Benedict XIV. purchased the palace
in 1740; and since 1871 it has been the meeting-place of the
Italian Senate (Palazzo del Senato). It has two facades, the E. one
in the Piazza San Luigi, the W. and more important in the Piazza
Madama. The vestibule, court, and staircase contain antique statues,
sarcophagi, reliefs, and busts. The royal reception-room was adorned
by Maccari in 1888 with noteworthy frescoes representing Appius
Claudius Csecus, Regulus, and Cicero and Catiline.

Opposite the N. side of the Pal. Madama rises —

San Luigi de' Francesi (PI. II, 15), the national church of the
French , consecrated in 1589. Facade by Oiac. della Porta. The
chapels are very badly lighted. Best light about midday.

Right Aisle. On the pillar opposite the 1st chapel is a monument
to French soldiers who fell at the siege of Rome in 1849. 2nd Chapel:
^Frescoes from the life of St. Cecilia, one of the most admirable works of
Domenichino (p. lxxiv); on the right the saint distributes clothing to the poor;
above, she and her betrothed are crowned by an angel ; on the left the
saint suffers martyrdom with the blessing of the Pope ; above, she is urged
to participate in a heathen sacrifice ; on the ceiling, admission of the saint
into heaven ; altar-piece, a copy of Raphael's St. Cecilia (iD Bologna) by Guido
Beni. — Over the high-altar: Assumption, a fine work by Franc. Bassano.
— Left Aisle. By the first pillar on the right the monument of Claude
Lorrain, erected in 1836.

On the S.E. side of the Piazza San Luigi rises the Palazzo
Giustiniani, occupied by the Prussian Historical Institute. To the
Via della Scrofa and SanC Agostino, lying to the N., see p. 214. —
To the W., a street between the church and the Pal. Madama leads
via, the above-mentioned little Piazza Madama to the —

*Piazza Navona (PI. II, 15), now officially named Circo Ago-
nale, which occupies, as its form still indicates, the Circus or Sta-
dium of Domitian. The name 'Navona', which was used in the middle
ages and down to 1875, is said to be derived from the agones or con-
tests which took place in the circus.

It is embellished with three Fountains. That at the N. end
by Leon, della Bitta and f!r«<r Zambia H878Y Ter,,esents Neptune

d. S. Maria delV Anima. ROME. //. B.onthe Tiber ( L. B). 221

in conflict with a sea-monster; round the central group are Nereids
and sea-horses. — Not far from it, in the centre of a large basin of
Pentelic marble, rises a fountain erected by Bernini under Innocent
X.; at the corners of the rock, the different parts of which represent
the four quarters of the globe, are placed the gods of the rivers
Danube, Ganges, Nile, and Rio de la Plata, executed by pupils of Ber-
nini. The whole is surmounted by an obelisk, which was originally
erected in honour of Domitian in the Circus of Maxentius (p. 395).
— The third fountain, at the S. end of the piazza, is adorned with
masks and Tritons, including one known as '11 Moro', by Bernini.

On the W. side of the Piazza Navona stands the church of
Sant' Agnese; the fine interior, in the form of a Greek cross, is by
C. Rainaldi, while the campanili and facade are by Borromini. The
Romans used to maintain that the Nile on the great fountain veiled
his head in order to avoid seeing this facade.

Over the principal door is the monument of Innocent X. by Marini;
to the left, in the chapel of the transept, is a statue of St. Sebastian, adapted
by Marini from an antique statue. Beneath the dome are 8 columns of 'cot-
tanello'. The old church was in the side-vaults of the Circus where St.
Agnes suffered martyrdom. Two subterranean chapels with ancient vaulting
still remain , one of them containing a good relief of the Martyrdom ot
St. Agnes by Algardi (descent by flight of steps).

To the left of the church is the Palazzo Pamphili, also erected
by Rainaldi, now the property of Prince Doria. — Opposite to it is the
church of San Oiacomo degli Spagnuoli, erected in 1450, and recently
restored. In the tympanum above the portal are two angels by Mino
da Fiesole (on the right) and Paolo Romano (on the left). The interior
contains a chapel (on the right) by Ant. da Sangallo and (on the
left) an early-Renaissance organ-loft. — At the S. end of the piazza
is the Pal. Braschi (p. 225).

The Via Sant' Agnese, to the right of the church, leads to the
Via dell' Anima on the right, where on the left side is situated —

*Santa Maria dell' Anima (PI. II, 15; open till 8.30 a.m., on
holidays till noon ; when closed, visitors go round the church and ring
at the door of the Hospice, opposite Santa Maria della Pace), erected
in 1500-1514. The handsome facade has been erroneously attributed
to Giuliano da Sangallo. The name is explained by the small marble
group in the tympanum of the portal : a Madonna invoked by two
souls in purgatory. This is the church of Roman Catholics of German
nationality, amongst whom theNetherlanders were formerly included.

The Interior, designed by a northern architect, has lately been thoroughly
restored. The modern frescoes of busts of saints on the ceiling are by
£. Seitz (1875-82), by whom also the stained-glass window over the chief
portal was designed. On the entrance-wall, tomb of Cardinal Wilh. Encke-
vort (d. 1534). — Right Aisle. 1st Chapel: St. Benno receiving from a fisher-
man the keys of the cathedral at Meissen (Saxony), which had been recovered
from the stomach of a fish, altar-piece by Carlo Saraceni (pupil of Caravaggio).
2nd Chapel: Holy Family, altar-piece by Qimignani; left, monument and
bust of Card. Slusius. On the 3rd pillar, Tomb of Hadrian Vryberg of
Alkmaar, with pleasing figures of children by the Dutch sculptor Frans
Duquesnoy (f ift'A "* p — ^ ""~ ^'■^?r'^,■ ''te-jd copy of Michael Angelo's

222 II. B.onthe Tiber (L.B.). ROME. d. is. m aria della Pace

Pieta in St. Peter's , by Nanni di Baccio Bigio. — Left Aisle. 1st Chapel :
Martyrdom of St. Lambert, by C. Saraceni. 3rd Chapel : frescoes from the
life of St. Barbara, by Mich. Coxcie. 4th (Brandenburg) Chapel : altar-piece
(Entombment) and frescoes by Franc. Salviati.

Choir. Over the high-altar, Holy Family with saints, by Giulio Romano,
damaged by inundations; on the right, the fine monument of Hadrian VI. of
Utrecht (preceptor of Charles V., d. 1523), with figures of justice, prudence,
strength, and temperance, designed by Baldassare Peruzzi, executed by Michel-
angiolo Sanese and Niccolb Tribolo; opposite to it, that of a Duke of Cleve-
Jiilich-Berg (d. 1575) by Egidius of Riviere and Mcolaus of Arras. A relief in
the ante-chamber of the sacristy (at the end of the N. aisle) represents the
investiture of this prince by Gregory XIII. In the church, at the entrance
to the sacristy, is the tomb of the learned Lucas Holste of Hamburg,
librarian of the Vatican (d. 1661). — Excellent new organ from Germany.
This church is noted for its music.

Opposite the German Hospice connected with the church rises —

*Santa Maria della Pace (PI. II, 15), erected by Sixtus IV. (1484)
and Innocent VIII., restored by Alexander VII., and provided by
Pietro da Cortona with the fine facade and semicircular portico. The
church consists of a domed octagon, with a short nave. When closed,
apply to the sacristan at No. 5, Vicolo dell' Arco della Pace (comp.
below).

Over the 1st Chapel on the right are **RaphaeVs Sibyls recording
the divine revelations which they receive from angels : to the left
the Sibyl of Cumae; against the arch above, the Persian; then, on
the other side of the arch, the Phrygian, and the aged Sibyl of Tibur.
They were painted in 1514 by order of Agostino Chigi (p. 369),
who erected the chapel, and were skilfully freed from 'restorations'
by Palmaroli in 1816 (usually covered, sacristan 25-30 c. ; best
light, 10-11 a.m. ; see also p. lxxii).

'With perfect mastery of the art of utilising the space at his com-
mand, a talent admirably illustrated in the Stanze, Raphael has here adapted
his composition to the curve of the arch so simply and naturally that the
consummate skill of the grouping is apt to be overlooked. Equally charac-
teristic of Raphael are the rhythm of the composition , the display of
spirited contrasts, and the delicate gradations and judicious denoue-
ment of passionate emotions; while the gracefulness of the female forms
and the sprightly beauty of the angel-boys are specially Raphaelesque.
Michael Angelo's Sibyls are justly extolled as creations of a sublime
imagination, striking the spectator with their supernatural majesty; but
these female figures of Raphael are pre-eminently human and lovable'.

In the lunette above the Sibyls are Prophets by Timoteo Viti
(p. 128): right, Jonah and Hosea; left, Daniel and David.

At the sides of the 1st Chapel on the left are two fine monu-
ments of the Ponzetti family, of 1505 and 1509. Admirable ♦Altar-
piece in fresco by Bald. Peruzzi, who here rivals Raphael and
Michael Angelo: Madonna between St. Brigitta and St. Catharine,
in front the donor Card. Ponzetti kneeling (1516). The vaulting
above contains scenes from the Old and New Testament , in three
rows, also by Peruzzi. — The 2nd Chapel on the right (Cap. Cesi),
with its heavy decorations (about 1560), offers an instructive contrast.
— To the left, under the dome, is the entrance to the sacristy and
court (See above). Over the first altar on the left, Adoration of the

e. The Gesii. ROME. II. B. on the Tiber (L. B.). 223

Shepherds, by Sermoneta; over the niche, the Death of Mary, by
Morandi. The second altar, with handsome marble - work, partly
gilded, attributed to Pasquale daCaravaggio, is of 1490. The high-
altar is adorned with an ancient and highly revered Madonna ; on
the vaulting are pleasing 'putti'by Franc. Albani. Over the adjacent
altar to the right, Baptism of Christ, by Sermoneta. Over the niche,
Mary's first visit to the Temple, by Bald. Peruzzi (retouched). —
Newly-married couples usually attend their first mass in this church.

The *Cloisteks, constructed by Bramante (p. lxvi) by order of
Card. Caraffain 1504, are interesting. On the groundfloor are arcades,
above which, between the pillars and thus over the arches, is a series
of columns. By the right wall, the tomb of Bishop Bocciacio (d. 1497)
of Modena. Entrance through the church, or by the Vicolo dell' Arco
della Pace 5.

The Via de' Coronari (p. 214), which passes a little to theN. of
these two churches, is the shortest route (6-8 min.) from the Piazza
Navona to the Ponte Sant' Angela (p. 313).

From the portal of Santa Maria della Pace the Via della Puce and the
Via di Parione lead straight to the Via del Governo Vecchio (p. 226).

e. From the Piazza Venezia to the Ponte Sant' Angelo.
Corso Vittorio Emanuele.

The wide Corso Vittokio Emanuele (PI. II, 17, 14, 12), con-
structed since 1876 through the most closely built quarters of medi-
aeval Rome, is a continuation of the Via Nazionale, described at
pp. 174-177, and facilitates communication between the centre of
the city and the Vatican quarter. The street is always crowded and
busy, but, especially towards the end, still presents an unfinished
appearance. — Tramway, see Appx. Nos. 6 and 8.

The first, or E., portion of the street is named Via del Plebis-
cito (PI. II, 17). Beginning at the Piazza Venezia (p. 201), we
see first on the left the main facade of the Palazzo Venezia (p. 202),
and on the right the S. facade (built by P. Amati) of the Palazzo
Doria (p. 207), the Palazzo Grazioli, and the extensive Pal. Al-
tieri, erected in 1670. The court of this last-named palace, and the
staircase adorned with antiques, deserve note. — Immediately beyond
it the Via del Gesii diverges on the right to the church of Santa
Maria sopra Minerva (p. 218).

On the left is the N. side of the *Gesu (PI. II, 17), the principal
church of the Jesuits, one of the richest and most gorgeous in Rome.
It was built by Vignola and Oiac. della Porta by order of Card. Ales-
sandro Farnese, in 1568-75. Comp. p. lxxiii. The main front is in
the Piazza del Gesii.

In the Nave is a ceiling-painting (Triumph of the Name of Jesus) by
Baciccio, by whom the dome and tribune were also painted, one of the best
and most lifelike of the baroque works of the kind. The walls were covered
with valuable marble at the cost of the Principe Aless. Torlonia in 1860.
The high-altar has four columns of giallo antico ; on the left the monument of
Card. Bellarmino (d. 421 with fieTires of Relieion and Faith, in relief; on the

224 //. R. on the Tiber (L.B.). ROME. e. IS. Andrea della Valle.

right the monument of Padre Pignatelli, with Love and Hope. — In the Left
Transept : Altar of St. Ignatius with a picture by Padre Pozzi, below which
is a silver-gilt group in high relief, representing St. Ignatius surrounded by
angels. The original silver statue of the saint, by Legros, is said to have
been removed on the suppression of the order in the eighteenth century. The
columns are of lapis lazuli and gilded bronze ; on the architrave above are two
statues: God the Father, by B. Ludovisi, and Christ, by L. Ottoni, behind
which, encircled by a halo of rays, is the emblematic Dove. Between these
the globe of the earth, consisting of a single block of lapis lazuli (said to be
the largest in existence). Beneath the altar, in a sarcophagus of gilded
bronze, repose the remains of the saint. On the right and left are groups
in marble; on the right Religion, at the sight of which heretics shrink,
by Legros ; on the left Faith with the Cup and Host, which a heathen king
is in the act of adoring, by Tendon. Opposite, in the right transept, the
altar of St. Francis Xavier.

The church presents a most imposing sight on 31st Dec, on the festival
of St. Ignatius (31st July), and during the Quarant'ore (p. 144; the two last
days of the Carnival), on which occasions it is brilliantly illuminated in
the evening. During Advent and Lent (Frid. excepted), and at various
other seasons also, sermons are preached here about ll a.m., often by
priests of great ability.]

Adjoining the church on the S. is the former Casa Professa of the
Jesuits, now used for military purposes, adjacent to -which, No. la
in the Via di Aracoeli (p. 203) leading to the Capitol, is the entrance
to the rooms of St. Ignatius (Mon., Wed., Frid., 9-11). Opposite is
the Palazzo Bolognetti, which bounds the Piazza del Gesil on the S.

The dome in front of us in the Corso Vittorio Emanuele be-
longs to the church of Sant' Andrea della Valle (see below). A few
hundred paces to the W. of the Piazza del Gesu the Corso is crossed
by the Via di Tor Argentina (p. 230).

Farther on, to the left, is the rear of the Palazzo Vidoni (PI. II,
14), formerly belonging to the Caffarelli, and now the property of
Prince Oiustiniani- Bandini. The chief facades are in the small
Piazza della Valle and the Via del Sudario, which leads to the S.
The building (partly restored) was designed by Raphael and erected
by Lorenzetto. On the staircase is the so-called Abbate Luigi, a
Roman figure in a toga, formerly placed at the N. angle of the palace,
and used as the bearer of lampoons and pasquinades (comp. p. 203).

Opposite the Palazzo Vidoni is the Cappella del Sudario. In the Piazza
della Valle a statue of the AbU Nic. Spedalieri (1740-95), by Marco Ru-
telli, was erected in 1903. The Via del Monte di Farina leads hence to
San Carlo ai Catinari (p. 231).

The domed church of *Sant' Andrea della Valle (PI. II, 14), be-
gun by P. Olivieri in 1591 on the site of several earlier churches, and
completed by C. Maderna, has a florid facade added in 1665 from
designs by Carlo Rainaldi. The interior is well proportioned, but
part of it has been whitewashed. See p. lxxiii.

On the right the 2nd Chapel (Stkozzi) contains copies in bronze of the
Pieta (p. 324) and the Rachel and Leah (p. 189) of Michael Angelo, whose
influence is apparent in the design of this chapel itself. — On the left
the 1st Chapel (Bakberini) is adorned with several marble statues of the
school of Bernini. — Above the last arches in the Nave are the monuments
of the two popes of the Piccolomini family, brought here from the old
church of St. Peter; on the left that of Pius II. (d. 1464; p. 43) by Pas-
quino da Montepulp"""'"'''- «- *>■« »i^htKthnt nf p;„« tjj '„ jkqq-. >,„

e. Pal. Braschi. ROME. //. R. on the Tiber (L. B.). 225

Franc, di Giovanni and Bastiano di Franc. Ferrucci. — In the Dome : Glory
of Paradise, by Lanfranco; below, on the peudentives, the ^Evangelists by
Domenichino, one of his finest works. By the same master, "Frescoes on
the vaulting of the apse. In front, between the transverse ribs, a rectan-
gular painting of John the Baptist pointing out Christ to St. John and
St. Andrew (John, I. 35) ; in the vaulting itself, on the left, the Scourging
of St. Andrew, in the centre, the Vocation of SS. Peter and Andrew by
Christ; on the right, St. Andrew beholds and reveres the cross to which
he is about to be affixed; below are six female figures representing the
virtues (p. lxxiv). The large lower frescoes by Calabrese (martyrdom of St.
Andrew) are of no great value.

The Via delTeatro Valle, on the other side of the Corso, opposite
the church, leads to the N. to the small Piazza della Valle and the
Palazzo Capranica (PI. II, 15), and thence to the right to the Uni-
versity and the Pal. Madama (p. 220).

No. 141 in the Corso Vitt. Emanuele, to the right, is the —

Palazzo Massimi alle Colonne (PI. II, 14, 15), a fine structure
by Bald. Peruzzi, who, however, died in 1536 before its completion.
The arc-shaped facade was skilfully adapted to the curve of the orig-
inally narrow street, but has lost its effect by the construction of
the wide Corso. The glimpse obtained of the double court is, how-
ever, still strikingly picturesque. On the second floor is the Chapel
of San Filippo Neri (p. 227; open to visitors on 16th March), who
is said to have here resuscitated a child of the Massimi family.

In 1467, within the buildings connected with this palace, the Germans
Parmartz and Schweinheim, who during the two previous years had found an
asylum in the monastery of Subiaco (p. 426), established the first printing-
office in Rome, from which they issued Cicero's Epistles and other works,
furnished with the name of the printers and the words 'In aedibus Petri
de Afaximis\ — The Massimi family claims descent from the ancient Fabii
Maximi, and their armorial bearings have the motto '■Ciinctando restituit\

On the left, at the point where the Via de' Baullari diverges to
the Palazzo Farnese (p. 229), is the little Palazzo Linotte [Pal.
Regis; PI. II, 14), built about 1523 for the French prelate Thomas
It Roy, of Rennes, whose armorial lilies, repeated several times in
the frieze, have procured the erroneous title of Palazzo della Far-
nesina for the palace. It is probably a work of Ant. da Sangallo the
Younger, and has a tasteful court and staircase. The restoration,
begun in 1898, under Enrico Guy, is now complete, the building
being intended for a municipal museum of modern art.

To the right opens the Piazza di San Pantaleo (PI. II, 15), con-
taining the small church of San Pantaleo, with a facade erected by
Guiseppe Valadier in 1806. In the centre is a statue, by Gangeri,
of the Italian statesman Marco Minghetti (1818-86).

From the Piazza San Pantaleo the Via San Pantaleo runs towards
the N.W. No. 9 in this street, on the right, is the spacious Palazzo
Braschi (PI. II, 15), erected by Morelli in 1780 and now occupied
by the Minister of the Interior. It contains a fine marble staircase and
a few ancient statues. The N. side of the building looks towards the
Piazza Navona (p. 220). — At the obtuse N.W. angle of the palace
stands the so-called Pasquino, an admirable, but now sadly muti-

Baedek 15

226 Il.R.ontheTiberfL.B.). iwinr^. c. rui.u»» Jancelleria.

lated relic of an antique group of statuary representing Menelaus
with the body of Patroclus, looking around for succour in the tumult
of battle. Duplicates of the group are in the Loggia de' Lanzi and
the Palazzo Pitti at Florence, and there are fragments in the Vati-
can (p. 354).

Cardinal Caraffa caused the group to be erected here in 1501. It be-
came the custom of the professors and students of the Roman Archigin-
nasio on St. Mark's day (April 25th) to affix Latin and Italian epigrams to
the statue (at first without any satirical aim). The name was derived from
a schoolmaster living opposite; but when the 'pasquinades' began to
assume a bitter satirical character about the middle of the 16th cent,
(chiefly as the result of the Reformation), the title came to be connected
with a tailor named Pasquino who was notorious for his lampooning pro-
pensities. The answers to the satires of Pasquino used to be attached to
the Marforio (pp. 203, 244). Compositions of this kind have been much in
vogue at Rome ever since that period, sometimes vying with the best
satires of antiquity.

The Via del Govee.no Veccbio (PI. II, 15, 12), running from the small
piazza named after Pasquino , formed the chief communication with the
Ponte Sant' Angelo before the construction of the Corso Vittorio Emanuele.
On the right in this street is the sadly neglected Pal. del Governo Vecchio
(1475) , once the brilliant residence of Cardinal Stefano Nardini , and
occupied later by the law and police courts. No. 124, opposite, is an ele-
gant little house in Bramante's style, built in 1500 for the papal secretary
J. P. Turcius. We next pass the back of the former Philippine Monastery
(p. 227) and cross the Piazza deW Orologio (PI. II, 12), whence the Via Monte
Giordano leads to the right to the Palazzo Gabrielli, with a pretty fountain
in its court. Thence the Via di Panico leads to the Ponte Sant' Angelo.

Farther on the Corso Vittorio Emanuele discloses a view of the
dome of St. Peter's.

To the left lies the narrow Piazza dblla Cancbllekia with the
palace of that name and the church of San Lorenzo in Damaso.

The *Palazzo della Cancelleria (PL II, 15, 14), an edifice of
majestic simplicity, designed in strict conformity with the ancient
orders of architecture, is one of the noblest Renaissance monuments
in Rome (p. lxvi). It was built in 1486-95 for Card. Raffaelo
Riario by a Tuscan architect, but not by Bramante, who did not come
to Rome until 1499. The elegant facade is constructed of blocks of
travertine from the Colosseum. The beautiful balcony at the S.E.
corner should be noticed. The chief portal of the palace, in an in-
harmonious baroque style, was added by Domenico Fontana. It leads
into the *Coubt, surrounded by arcades on the two lowest stories.
The columns are antique and were formerly used in the ancient
basilica of San Lorenzo (see below). The graceful capitals are de-
corated with roses, a flower which appears in the armorial bearings
of Card. Riario. Under the arcade to the left is a bust of Padre
Secchi, the astronomer (p. 207). To the right is a door leading to the
church of San Lorenzo (see below). This is the only palace in the
interior of the city which government still permits to be in the hands
of the pope.

The handsome portal by Vignola, nearest the Corso admits to
the church of San Lorenzo in Damaso. The ancient basilica of this

e. Chiem Nuova. ROME. II. R.ontheTiberfL.B.). 227

name was originally founded by Damasus I. (ca. 370) near the
Theatre of Pompey (p. 228), but it was taken down at the in-
stance of Card. Riario and rebuilt in connection with the palace.
The internal decoration is quite modern , dating from the time of
Pius VII. (1820) and Pius IX. (1873). At the E. end of the right
aisle is the tomb of the papal minister Count Rossi, who was assass-
inated on the staircase of the CaiKelleria in 1848 (bust by Tenerani);
the left aisle contains the tomb of Card. Scarampi, by Paolo Romano.
From the Cancelleria to the Piazza Campo di Fiore , see p. 228. —
Visitors to Rome will be interested in the characteristic Rag Fair held
every Tues. morning in and around the piaz-/a in front of the Cancelleria,
at which antiquities, old textile fabrics and embroideries, books, etc., are
offered for sale (bargaining essential).

We continue to follow the Corso Vitt. Emanuele. At the corner of
the second street to the right is the Palazzo Sora, built in 1503-1509
for Card. Fieschi by an architect (perhaps Giuliano Leno?), who has
used (with some unhappy modifications) Bramante's design for the
exterior facade of St. Peter's. It has been altered for the Liceo-
Ginnasio Terenzio Mamiani. — To the right stands the —

Chiesa Nuova (PI. II, 12), or Santa Maria in Vallicella, erected by-
Saw Filippo Neri about 1550 for the order of Oratorians founded by
him, and finished in 1605. Architecture by Oiov. Matteo da Citta di
Castello, interior by Mart. Lunghi the Elder, facade by Rughesi.

The Interior , which is dark and unfavourable for pictures , is richly
decorated. The admirable stucco-work is by Cos. Faniello and Ercole
Ferrata. The ceiling of the Nave, the dome , and the tribune are painted
by Pielro da Cortona. — In the Left Aisle, adjoining the tribune, is the
small and sumptuous Chapel of San Filippo Neei, beneath the altar of which
his remains repose. Above is the portrait of the saint in mosaic, after the
original of Ouido Reni preserved in the adjoining monastery. — Over the
High Altar, with its four columns of porta santa, is a Madonna by Rubens ;
on the left ~'SS. Gregory, Maurus, and Papias, on the right *SS. Doniitilla,
Nereus, and Achilleus, also by Rubens, who painted these pictures during
his second stay in Rome in 1608 for this church, which was then the most
fashionable in the city.

On 26th May, the festival of the saint, and after Ave Maria every Sunday
from 1st Nov. to Palm Sunday, concerts of sacred music, to which men only
are admitted, are given in the adjoining Oratoriwm, which derives its name
from the oratories fitted up by San Filippo Neri. The saint was fond of
music and advocated a cheerful form of divine service.

The adjoining Philippine Monastery, erected by Borromini, is
of irregular shape, but remarkably massive in its construction. It
contains a room once occupied by the saint, with various relics. The
Corte d'Appello, the Tribunale Civile e Correzionale, and the Tri-
bunate di Commercio are now established here. — The Bibliotheca
Vallicellana (adrn., see p. 146) is also preserved here.

Farther on, [to the Jeft, lies 'the small Piazza Sforza, with the
Palazzo Sforza-Cesarini, the Bohemian Hospice, restored in 1875,
and a monument (by Benini ; 1892) to the poet and statesman Count
Terenzio Mamiani (1799-1885). Beyond the piazza the Via del
Banco di Santo Spirito diverges to the right to the Ponte Sant' An-

gelo(p. 313"1 Nna A1.AR ir. *>,,-„ „*,„„4 belonged to the banker

-15*

228 II. R.onthe Tiber (L,.a.). KUmw. j. vampo di Fiore.

Agostino Chigi (p. 369), the 'gran mercante della cristianita', whose
office (in the wing, Arco dei Banchi 9) is now a stable.

To the left is the Museo Barbacco (PI. II, 12) , or Museo di
Scultura Antica, a new building, to be opened in 1904, for the re-
ception of the antiquities presented to the city by Senator Barracco.
Farther along the Tiber is San Giovanni de' Fiorentini (PL II, 12),
the handsome national church of the Florentines. The building was
begun, prior to 1521, by desire of Leo X., from a design by Jac.
Sansovino (which was preferred to competing plans of Raphael, Ant.
da Sangallo the Younger, and Peruzzi); and the difficult task of
completing the substructures on the river was executed by Sangallo.
Michael Angelo, and on his death, Oiac. della Porta and Carlo Madema
were afterwards engaged in the work. The facade was added by
Aless. Galilei in 1734. In the right transept is a picture by Salv.
Rosa (SS. Cosmas and Damianus at the stake). — Near the church
the Ponte ai Fiorentini, a suspension-bridge constructed in 1863,
crosses the river (toll 5 c. ; p. 368).

To the S.E. from San Giovanni runs the Via Oiulia, see p. 230.

f. Quarter to the S. of the Corso Vittorio Emanuele as far
as the Piazza Montanara. Isola Tiberina.

To the S. of the Pal. della Cancelleria (p. 226) lies the busy
Piazza Campo di Fiore (PL II, 14; vegetable-market every morn-
ing). Heretics and criminals used to be put to death here. Among
the former was the philosopher Oiordano Bruno, whose death in this
square on Feb. 17th, 1600, is commemorated by a bronze *Statue
(designed by Ettore Ferrari), erected in 1889 on the site of the stake.

Giordano Bruno, born at Nola near Naples in 1548, entered the Domin-
ican order. In 1580 he fled to Geneva, and after a career of wandering,
during which he visited France, England, and Germany, he was seized
and imprisoned at Venice by the Inquisition in 1592. — The Relieft on
the base of the monument represent: on the right, Ernno teaching; behind,
his trial; on the left, his execution at the stake. The Medallions are por-
traits of the champions of religious freedom: Paolo Sarpi of Venice (1552-
1623), Toiomas.. Campanella of Calabria (1568-1639), Petrus Ramus of
France (1515-1572;, Lncilio Vanim of Naples (about 1585-1619), Aonius
Palearius of Rome (if>00-1570), Jli hael Servetus of Spain (151 l-1553i, John
Wielif of E gland (1324-1S84), and John Huss of Bohemia (13691415).

To the E. of the Campo di Fiore once lay the Theatre of Pompey
(PL II, 14). In the court of the Palazzo Pio or Righetti (entrance,
Via Biscione 95), a bronze statue of Hercules (p. 352) and substruc-
tures of the theatre were discovered. Fragments of the ancient walls
are incorporated in the modern building. The semicircular bend of
the street by Santa Maria di Grottopinta distinctly shows the form
of the ancient auditorium; the stage approximately occupied the site
of the present Via de' Chiavari. Behind the latter extended the large
Porticus Pompeiana, with its colonnades and halls, in one of which
Julius Caesar was murdered on March 15th, 44 B.C. — The Via de'
Giubbonari leads hence to San Carlo ai Catinari (p. 231).

. f. Palazzo Farnese. ROME. II. B.ontheTiberfL.B.). 229

From the Gampo di Fiore three parallel streets lead to the S. W.
to the Piazza Fabnbse, with two fountains. Here stands the —

*Palazzo Farnese (PI. II, 14), one of the finest palaces at Rome,
begun by Card. Alex. Farnese, afterwards Pope Paul III. (1534-49),
from designs by Ant. da Sangallo the Younger (p. lxxii), continued
after his death (1546) under the direction of Michael Angelo, and
completed by the construction of the loggia at the back, towards
the Tiber, by Giac. della Porta in 1580. Michael Angelo's plans
had included a second court (behind the present court), to be de-
corated with the Farnese antiquities now at Naples, and a bridge
connecting the palazzo with the Villa Farnesina on the other side
of the Tiber. The building materials were taken partly from the
Colosseum and partly from the Theatre of Marcellus. This palace
was inherited by the kings of Naples, and in 1903 an offer to pur-
chase it was made by the French government, whose embassy to the
Italian government has been established here since 1874. On the
second floor is the French archaeological institution. The triple
colonnade of the entrance and the two arcades of the court were de-
signed by Sangallo, the arcades being in imitation of the Theatre of
Marcellus ; the upper story (originally open) and the beautiful cornice
are by Michael Angelo. The court contains two ancient sarcophagi
(that to the right said to be from the tomb of Caecilia Metella, p. 395).
The Galleria, or hall, on the first floor contains admirable frescoes
of mythological scenes by Agostino and Annibale Carracci and their
pupils, but is not accessible.

In the Via Giulia, behind the Palazzo Farnese, is situated the round
church of Santa Maria della Morte (PI. II, 11; closed), founded by the
fraternity of the Fratelloni della Buona Morte. On Nov. 2nd wax figures
referring to death are exhibited in the chambers below the church.

From the Piazza Farnese a line of streets, called the Via di Mom-
seeeato and Via de1 Banchi Vecchi, leads to the N.W. to the Ponte Sant'
Angelo (p. 313). On the right in the first of these is San Tommaso di
Canterbury (PI. II, 11), or degli Inglesi (p. 145), the church of the English
College, rebuilt in 1888 on the site of a church said to have been founded
by a king of Wessex in the 8th century. It contains among others the
simple but noble tomb of Cardinal Bainbridge, Archbishop of York (d.
1514). The adjoining college contains portraits of English cardinals from
Wobey to Vaughan. — On the left side of the street, farther on, stands
Santa Maria di Monserrato (PI. II, 11 •, open in the morning only), the
national Spanish church, with a hospice. It was erected in 14'5 by Ant.
da Sangallo the Elder, and afterwards restored. The first cbapel on the
right contains the remains of Calixtus III. and Alexander VI., the two
popes of the Borgia family; the altar-piece is by Ann. Carracci. On the
right pillar of the first chapel on the left is a ciborium by L»igi Oappono;
in the third chapel on the left a stitue of St. James by Jac. Sansovino.
The convent-court (entrance Via Giulia 151) contains several fine Renais-
sance lombs. At Nos. 22-24 in the Via de' Banchi Vecchi is the former
house of the goldsmith Qiampielro Crivelli, erected about 1510, with florid
decorations in stucco.

To the S.E. of the Piazza Farnese the Vicolo de' Venti leads to
the Piazza di Capo di Ferro. Here, on the right, rises the —

Palazzo Spada alia Regola (PI. IT, 14), erected in the pontificate

230 n. r. on tteKv.;:.r.;. ~c:~. f. via Giuiia.

of Paul III. about 1540 by Card. Capodiferro, in imitation of a house
built by Raphael for Giambattista Braneonl dell' Aquila in the Borgo
Nuovo (p. 317; now destroyed). Since 1640 the palace has belonged
to the Spada family. The first floor is leased to the Consiglio di Stato.
The sessions-hall, the ceiling! ofjwhich is a splendid example of Renais-
sance high art, contains a nude colossal statue of PompeyQ), erroneously
described as that before which Julius Caesar was slain. In the adjoining
corridor are eight Reliefs of scenes from Greek mythology and legend.
The porter (fee ^2 fr.) admits visitors to the library on the groundfloor
to the left , whence a portico is seen in delusive perspective. The other
antiquities and paintings (over 200, mostly by Bolognese masters of the
16-17th cent.) are not accessible.

Pursuing the same direction beyond the Piazza Capo di Ferro,
we next reach the small Piazza be' Pellegbini. On the left is the
back of the Monte di Pieta (PI. II, 14), the seat since 1604 of the
pawn-office, founded in 1539. On the right is the church of San-
tissima Trinith de' Pellegrini, erected in 1641; the high-altar is
adorned with a Trinity, by Guide* Reni. Adjoining is a hospital for
convalescents and pilgrims.

The Via db' Pettinaki (PI. II, 14) leads from the Piazza de'
Pellegrini to the Ponte Sisto (p. 373).

From the Ponte Sisto towards the N.W., parallel with the river,
runs the Lungo Tevere Tibaldi, affording a pretty view of the Villa
Farnesina and the Janiculum. Parallel with this street, on the right,
is the Via Giulia (PI. II, 14, 11, 12), most of which was built by
Jolius II., leading in 12 min. to the Ponte Sant' Angelo. To the
left is a fountain known as the Mascherone del Farnesi, and farther
on, also on the left, beyond an arch spanning the street, is the Pal.
Falconieri , built by Borromini, with hernias on the fa§ade in a bar-
oque style, terminating in colossal falcons' heads. In the Via di
Sant' Eligio, the next cross-street to the left, is the church of SanV
Eligio degli Orefici (PI. II, 11), a graceful but dilapidated little
circular structure, built in 1509 from a design by Raphael and
renewed in 1601 (closed; visitors knock at Via dell' Armata 118).
FaTther on in the Via Giulia, on the left, are the Carceri Nuove, a
prison founded by Innocent X. (closed in 1897), the little church
of San Biagio della Pagnotta, and, No. 66, the Pal. Sacchetti (PI. II,
12), erected in 1543 by Antonio da Sangallo the Younger as his pri-
vate residence. The courses of rough rustica masonry in the lower
stories of the houses on the left side of the street, formed the
beginning of a large court of justice, projected by Julius II. and
designed by Bramante, but never carried out. — To the left, at the
end of the Via Giulia, is San Giovanni de' Fiorentini (p. 228).

The most important side-street diverging from the Corso Vittorio
Emanuele is the Via di Tort Argentina (PI. II, 15-18, 14), men-
tioned at p. 224, which begins at the Pantheon (p. 216) on the N.
and is continued to the S. by the Via Areimla to the Ponte Gari-
baldi (PI. II, 13; p. 373).

f. Palazzo Mattel ROME. II. R.ontheTiber(L.B.). 231

To the S. of the Corso Vitt. Emanuele, the Via di Tor Argen-
tina leads to the Piazza Benedetto Caikoii (PL II, 14), passing the
Teatro Argentina (p. 147) and a monument to Pietro Cossa (1834-81),
the dramatist. Thence the Via de: Giubbonari runs to the right to
the Campo di Fiore (p. 228), and the Via del Pianto (p. 232) to the
left to the Portions of Octavia and the Theatre of Marcellus (p. 232).

On the N. side of the Piazza Benedetto Cairoli rises the church of
San Carlo ai Catinari (PI. II, 14), built by Bosati in 1612 in honour
of San Carlo Borromeo, in the form of a Greek cross, -with a dome.
In the pendentives below the dome are the four cardinal virtues, by
Domenichino. Over the high-altar, Card. Borromeo in the procession
of the plague at Milan, by Pietro da Cortona.

The narrow Via de' Falegnami runs from the N.E. angle of the
Piazza Benedetto Cairoli to the small Piazza Mattei, or Tahtabuga
(PI. II, 17), named after the graceful Tontana delle Tartarughe
(tortoises), a bold and skilfully composed bronze group with figures
of four youths and dolphins and tortoises (restored in 1903). This is
the most charming fountain in Rome ; the design, which was formerly
attributed to Raphael and to Giacoino della Porta, is by a Florentine
sculptor of the school of Giov. da Bologna.

To the left is the Palazzo Mattei (PI. II, 17), originally an ag-
gregate of separate buildings which occupied the rectangle between
Santa Caterina de' Funari and the Via Paganica. The handsomest
portion (principal entrance, Via de' Funari 31 ; side-entrance, No. 32),
is one of the finest productions of Carlo Maderna (1616).

In the passages of the entrance and in the Court, a great number of
ancient reliefs are built into the walls. In the court are (r.) Mars with
Rhea Silvia, and Apollo with the Muses, and (1.) the Calydonian Hunt and
Rape of Proserpine; in the portico, Sacrifice to Mithras, Apollo with the
Muses, and a Bacchanalian procession ; all from sarcophagi. The statues
in the court and niches on the staircase, some of them freely restored,
are of no great value. The stucco decorations of the ceiling over the stair-
cases are well executed.

Farther on we observe on the left, on the site of the ancient Circus
Flaminius, the church of Santa Caterina de' Funari (PI. II, 17),
erected in 1563 by Qiac. della Porta, with a good facade and a baroque
tower. The name of the church is derived from the rope-makers
who in the middle ages plied their trade within the circus.

Straight in front is the Palazzo Ascarelli (PI. II, 17), whence the
Via Delfini leads to the left to the Via Aracceli (p. 203), the street
to the right to the Piazza Campitelli. Here, on the right, is —

Santa Maria in Campitelli (PL II, 17), erected by C. Rainaldi
under Alexander VII. in 1665 on the site of an earlier church, to
provide a more worthy shelter for the miraculous image of the Vir-
gin, to which the cessation of the plague in 1656 was ascribed.

Intekiok. The site of this church tapers to a point at the hack, but
this irregularity has heen most skilfully masked by the architect, who has
so designed a kind of 'preliminary' transept as to produce the impression
that, beyond the handsome projecting columns, there is another and more
spacious transerit. — Beneath the canonv over the high-altar is placed

232 II.R. on the TZ„ ;L.Z.;. Z2112. ,. „„„... -fMarcellus.

the miraculous Madonna. In the 2nd Chapel on the right, the Gift of
Tongues, by Luca Giordano; in the 1st Chapel on the left, two monuments
of the Altieri family (17th cent.) resting on lions of rosso antico, that on
the right marked 'umbra1, that on the left 'nihil'. In the S. transept is
the tomb of Card. Pacca by Peltrich.

From the S.E. end of the Piazza Campitelli the Via di Tor de'
Specchi, skirting the foot of the Capitol, leads to the left to the Piazza
Aracoeli (p. 235), while the Via Montanara runs to the right to the
Piazza Montanara (p. 233).

From the S.E. angle of the Piazza Benedetto Cairoli (p. 231) the
Via del Pianto, continued by the Via del Portico d'Ottuvia (PI. II,
14, 17), skirts the N. side of the former Ghetto, or Jewish quarter,
which was pulled down in 1887. A new Synagogue, from designs
by Costa and Armarmi, was built here in 1903. In antiquity and
during the middle ages the Jews resided in Trastevere; but in 1556
Paul IV. assigned this quarter to them, and until the end of the
papal rule they were forbidden to settle elsewhere.

The third street on the left leads from the Via del Pianto to the
Piazza Tartaruga (p. 231), and the first street on the right to the
Palazzo Cenci-Bolognetti (PI. II, 14), the home of the ill-fated Bea-
trice Cenci (comp. pp. 164 and 316), who was executed in 1599 for
the murder, in conspiracy wiih her brothers, of her father Francesco
Cenci, a man of execrable character.

At the end of the Via del Portico d'Ottavia, on the left, is the
*Porticus of Octavia (PI. II, 17), erected by Augustus on the site
of a similar structure of Metellus (B. C. 149), and dedicated to his
sister. It was destroyed by a fire, but restored by Sept. Severus
and Caracalla in 203 , as the inscription records. The principal
entrance consisted of a double colonnade with eight Corinthian
columns, of which three in the inner, and two in the outer row are
still standing. To the right and left of this were double rows of
14 columns each, while there were at least 40 columns in a row at
the sides. The entire colonnade , with its 300 columns, enclosed
a rectangular space , within which stood temples of Jupiter and
Juno. It was adorned with many admirable works of art which
formed part of the Macedonian booty. In 770 the church of Scent'
Angelo in Pescheria (frequently restored) was built on the ruins by
Stephen III., and here the Jews were compelled to attend Christian
sermons on their Sabbath from 1584 down to the pontificate of
Pius IX. Rienzi went in procession from this church to the Capitol
at "Whitsuntide, 1347 (p. xxxviii).

Farther to the S.E., on the right in the Via delTeatro diMarcello,
are the remains of the *Tb.eatre of Marcellus (PI. II, 16), which was
begun by Caesar and completed in B.C. 13 by Augustus, who named
it after his nephew, the son of Octavia. Twelve arches of the outer
wall of the auditorium are now occupied by workshops. The lower
story, partly sunk in the earth, is in the Doric, the second in the
Ionic style, above which, as in the Colosseum, a third probably

Isola Iwerina. ROME. II.R.ontheTiber(L.B.). 233

rose in the Corinthian order. It is said to have accommodated 3-4000
spectators. The stage lay towards the Tiher.

In the interior (entr., Via della Catena 14, adm. 60 c), on a mound
of de'bris, rises the Palazzo Orsini, where Kiebuhr, the historian, lived in
181B-23 as Prussian ambassador in Rome. Since 1903 it has belonged to
the Savings Bank (p. 201). Considerable remains of the vestibules of both
stories, and of the substructares of the rows of seats are still visible. On
the first floor is a room containing architectural fragments, inscriptions,
and plaster-casts from the theatre. On the second floor is a garden-room
with mosaics of the 16th century.

The Via del Teatro di Marcello ends in the small but busy Piazza
Montanara (PI. II, 16), much frequented by the country-people,
especially on Sundays. Omnibus to the Piazza Venezia, etc., see
No. 20 in the Appendix.

At the beginning of the Via Bocca della Verita, which runs
hence to the S., in a small piazza to the right, is the church of San
Nicola in Carcere (PI. II, 16), restored in 1880, containing, on
the outer walls and in the interior, ancient columns obtained from
three temples which adjoined each other in the Forum Holitorium
on this site. Two of the temples seem to have been those of Spes
and Juno Sospita. Visitors may examine the foundations of these
(sacristan with light V2 fr0-

Hence to the Piazza Bocca della Verita and Santa Maria in Cosme-
din, see p. 283.

The Ponte Fabricio (PI. II. 16), to the S.W. of the Theatre of
Marcellus, also called the Ponte de' Quattro Capi from the four-
headed hermae on the balustrades, is the oldest bridge now in Rome,
having been built in B.C. 62 by L. Fabricius , as the inscription
records.

This bridge crosses to the Isola Tiberina (PI. II, 16), on which
is a small piazza and the church of San Bartolomeo.

In antiquity the whole island was surrounded by a bulwark of traver-
tine which gave it the appearance of a ship, the mast being represented
by an obelisk. A part of this bulwark is still preserved at the S. end of
the island, with a bast of iEsculapius and a serpent in relief. The last
is a reminiscence of the story that the Romans, when sorely afflicted by
the plague, sent for iEscnlapius from Epidaurus in B.C. 293, and that a
snake, a reptile sacred to the god, concealed itself in the vessel, and on
reaching the harbour escaped to this island, which was dedicated to -Escu-
lapius in consequence.

San Bartolomeo, erected, perhaps on the site of an ancient temple
of-Esculapius, about the year 1000 by the Emp. OthoIII. in honour
of St. Adalbert of Gnesen, was erroneously named St. Bartholomew.
The emperor had desired the Beneventans to send him the relics of
this saint, but received those of St. Paulinus of Nola in their stead.
The present church, the campanile excepted, is modernised and
uninteresting; facade by Martino Lunghi the Younger, 1625. The
interior contains fourteen ancient columns ; in the choir, remains of
an early mosaic. In the centre of the steps leading to the pres-
byterium is the mouth of a well of the 12th cent., with sculptures.

234 III. Souther* -V-Mir.cr». v.w.^. ...The Capitol:

The island was connected with Trastevere by the ancient Pons
Cestius {Oratiani; PI. II, 18), which was erected soon after the Pons
Fabricius, restored by the Emperors Valentinian and Gratian, and
in 1887-90 entirely rebuilt with the old stones and lengthened by
an arch at each end. It is now called Ponte San Bartolomeo. — A
few paces along the right bank of the Tiber bring us to the Via delta
Lungarina (p. 374).

III. The Southern Quarters (Ancient Rome).

This part of our description of Rome embraces the southern por-
tion of the city, beginning with the Capitol, and extending east-
wards as far as the Lateran : i. e. the hills of the Capitol, Palatine,
Aventine, Cselius, and the S. slope of the Esquiline. This was the
most important quarter of the Republican and Imperial city, but
lay waste and deserted from the early part of the middle ages down
to our own times. Recently it has lost much of its characteristic
aspect owing to the construction of new quarters, consisting largely
of tenement houses of the most Philistine appearance. A number of
ancient churches, as well as the imposing collections of the Capitol
and Lateran, are situated in this district.

a. The Capitol.

The Capitol, the smallest but historically the most important of
the hills of Rome, consists of three distinct parts : the N. summit
with the church of Aracoeli (164 ft.); the depression in the middle
with the piazza of the Capitol (98 ft.) ; and the S.W. point with the
Pal. Caffarelli (156 ft.). It was on this piazza, the Area Capiiolina,
that Romulus is said to have founded his asylum ; it was here that
popular assemblies were afterwards held ; and it was here, in the
year B. C. 133, on the occasion of the suppression of the revolt of
Tiberius Gracchus, that the blood of the citizens flowed for the first
time in civil warfare. The N. peak was occupied by the Arx, or citadel,
with the Temple of Juno Moneta ('the warner'), beside which, from
269 B. C. onwards, stood the mint of the Senate (comp. Plan, p. 272).
The S.W. peak was the site of the great Temple of Jupiter (comp.
Plan, p. 250), built by Tarquinius Superbus, the last of the kings,
and consecrated in B.C. 509, the first year of the Republic. This
temple was 800 ft. in circumference, and possessed a triple colon-
nade on the front and sides and three cellae, that of Jupiter being
in the middle, and one for Juno and Minerva on each side. In the
year B.C. 83, during the civil war between Sulla and Marius, the
temple was burned down, and the same fate overtook it in A.D. 69,
on the occasion of the struggle between Vespasian and Vitellius.
Magnificently restored by Domitian, this temple continued to be the
most sacred shrine of the Roman world until the 6th century.

ROMA VETUS

IMPERATORUMTEMPORIBUS.

1 . Tabidarwm,
2.T.D. V&rpasuzni
3 . T. Concordia*'.
4f. T.Saturni
5 . Basilica, Julia
G.T.Castoris

7 . Aedes et Atrium Testae

8 . T. Julii Cttesaris

9 . T. Sacrae urbis iSomuii
10 .T.D.Antoninlel Faustina*,
H. BasiUcaAemilia

12. Curia/

p o gr aph • Anstaltvan

I'oraCaesarum .
13. Forum Traiani
1* . ' Aujusti

15. " Caesar is

16 . " Werrae

17 . „ Yespasijmi

"Wa£iier&Del>es,T,eipi«

S. Maria in Aracau. xxumrj. m. Southern Quarters. ooD

During the early middle ages the hill was in the possession of
the monastery of Sancta Maria de Capitolio (Aracoeli). The name of
Monte Caprino, or hill of goats, applied to the S.E. height, testifies
to its desertion. The glorious traditions, however, which attached to
this spot, gave rise to a renewal of its importance on the revival of
a spirit of municipal independence at Rome. In 1143 it again he-
came the centre of the civic administration; and the 'Novum Pala-
tium' for the meetings of the municipal Senate (p. 238) is first
mentioned in 1150. In 1348 the first approach from the new quar-
ter of the city in the Campus Martius was made by the construc-
tion of the flight of steps of Aracceli, leading to the piazza of the
Capitol, which was at that time the market-place. The Palace of the
Conservatori (p. 238) dates from the 15th cent. , the general arrange-
ment of the piazza of the Capitol from the 16th and 17th centuries.

From the Piazza Aracceli (PI. II, 17), which is reached from
the Piazza Venezia by skirting the "W. side of the substructure of
the Victor Emmanuel Monument (p. 237) and from the Corso Vit-
torio Emanuele by the Via Aracoeli (p. 203), three approaches lead
to the Capitoline Hill, that in the centre being the principal ascent
for pedestrians (p. 237). — On the left a lofty Flight of Steps
(124), the only public work executed at Rome during the exile of
the papal court at Avignon, ascends to the principal entrance (gener-
ally closed) of the church of Santa Maria in Aracoeli (see below). —
On the right the Via dbllb Tub Pile, converted in 1873 into a
convenient drive (on which occasion remains of the ancient Servian
wall , enclosing the hill in the direction of the Campus Martius,
and now seen behind the railing* to the left, were brought to light;
see p. xxx), leads past the entrance of the Pal. Caffarelli, which
was erected about 1580, and is now the German embassy. The
throne-room of this palazzo (adm., pp. 150, 151) is embellished with
scenes from Northern mythology by Hermann Prell (1898), repre-
senting spring, summer, and winter. — The principal approach and
the Via delle Tre Pile lead to the Piazza del Campidoglio, see p. 237.

*Santa Maria in Aracoeli (PI. II, 20), a very ancient church, is
mentioned in the 8th cent, as Sancta Maria de Capitolio. It occupies
the site of the Capitoline temple of Juno (p. 234). The present
name ('Church of the Altar of Heaven'), dating from the 14th cent.,
is derived from an ancient legend according to which this is the
'Camera Octaviani' (a name suggested by the inscription on the
column mentioned below), in which the Sibyl of Tibur appeared to
the emperor, whom the senate proposed to elevate to the rank of a god,
and disclosed to him the new Revelation. The church, of which the
Roman senate formerly enjoyed the patronage, has given title to a
cardinal since the time of LeoX. The facade is unfinished. — It
was in this church that Gibbon first conceived the idea of writing
his history of the Decline and Fall of the Roman Empire.

*50D III. Southern Qui,™™ a. i»^.,^. „,. -..e Capitol:

Visitors generally approach the church from the Piazza of the
Capitol by the staircase to the E. of the Capitoline Museum, turning
to the left at the top of the first flight of steps. Over the door is a
mosaic of the Madonna between two angels (late 13th cent.").

The Interior is much disfigured by modern additions. The nave
is borne by 22 ancient columns, varying greatly in style, thickness,
and height. The third on the left bears the ancient inscription
lA cubiculo Augustorurri. The rich ceiling was executed to com-
memorate the victory of Lepanto (p. 211) in 1571.

By the wall of the principal Entrance, to the right, is the tomb
of the astronomer Lodovico Grato (1531), with a figure of Christ by
Andrea Sanso vino (?) ; on the left the fine monument of Card. Lib-
rettus (de Alibrettis, a member of the celebrated d'Albret family of
S. France), by Andrea Bregno (1465), with partly preserved painting,
and the tomb-relief (much worn) of Archdeacon Giov. Crivelli
(d. 1432), by Donatello. — Right Aisle, 1st Chapel (Bufalini) :
*Frescoes from the life of San Bernardino of Siena, painted about
1484 by Pinturkchio, restored by Camuecini. The decoration of the
ceiling also deserves notice. — Left Aisle. In the 2nd Chapel a
manger (presepe) is fitted up at Christmas. This consists of a gorgeous
and brilliantly illuminated representation of theNativity in life-size,
with the richly decorated image of II Santo Bambino, or Holy Child.
Between Christmas Day and Jan. 6th , from 3 or 4 o'clock daily,
children from 5 to 10 years of age here recite little poems, etc., in
honour of the Bambino, a carefully studied performance, but usually
accomplished with great naturalness of gesture and manner. — Be-
tween the 2nd and 3rd chapel on the left is a colossal statue of
Paul III., and opposite, in the right aisle, Gregory XIII. — 3rd Chapel
(left): Renaissance tomb of Ant. Albertini (d. 1509) and a fresco
(St. Anthony) by Benozzo Qozzoli (covered J. — 5th Chapel (1.):
fine Renaissance tomb of the physician Fil. delta Valle (d. 1494),
by Michele Marini ('?).

Transept. On the right and left, by the pillars of the nave, are
two *Ambones from the old choir, by Laurentius and Jacobus Cos-
mas (ca. 1200). The chapel on the right contains handsome mon-
uments of the Savelli family, of the 13th and 14th cent.: to the right
that of Pope Honorius IV. ; to the left those of his father and other
relatives (incorporating an antique sarcophagus). — The left tran-
sept contains a canopy, borne by 8 columns of brocatellone marble,
called the Cappella Santa, or »i Sant Elena. Beneath the altar,
destroyed during the French Revolution but restored in 1833, the
remains of St. Helena are said to repose in an ancient sarcophagus
of porphyry. The present altar encloses an ancient altar, bearing
the inscription Ara Primogeniti Dei, which is said to have been
erected by Augustus. At the end of the N. transept is the mon-
ument of Matthseus of Acquasparta (d. 1302), the general of the
Franciscans, mentioned by Dante (Paradiso, xii. 124). To the left

Piazza del Campimymo kvme: -*7II. Southern Quarters. 237

is a colossal statue of Leo X., by Airno da Vairnno, near which a
slab marks the tomb of Felice de' Fredi, who discovered the Laocoon
group (p. 355) in his vineyard in 1506.

Chois. To the left, the handsome tomb of Giov. Batt. Savelli
(d. 1498), from the studio of Andrea Bregno. From 1512 to 1565
the high-altar was adorned with the Madonna of Foligno by Raphael
(p. 344). The donor, Sigismondo Conti da Foligno, is interred here.
The present altar-piece is an ancient Madonna, ascribed to St. laike.

The Franciscan monastery belonging to the church was pulled
down in 1888 to make room for the vast Monument of Victor Emma-
nuel II., designed by Count Gius. Sacconi. The work, which is
being erected on the N. end of the Capitol, has already swallowed
up about 10 Y2 million francs as the cost of the site (p. 202), sub-
structures, preliminary operations, etc. The entire cost is estimated
at 24^2 million francs. When finished, it will be over 200 ft. in
height, and will include an equestrian statue of the king, rising in
the centre of a platform, surrounded by colonnades and approached
by massive flights of steps. The colonnades, with columns 50 ft. in
height, are being richly decorated with mosaics and paintings, and
the apartments in the basement are to be fitted up as a Museo del
Risorgimento Italiano. A glimpse of the operations may be obtained
from the Via della Pedacchia or the Via del Marforio.

The Central Approach, ascending in shallow steps paved with
asphalt ('la cordonata'), leads direct to the Piazza del Campidoglio.
At the foot of the steps are copies of the Egyptian Lions mentioned
at p. 246, and at the top a group of the horse-taming Dioscuri (found
near the theatre of Balbus ?). In the gardens to the left is a Bronze
Statue of Cola di Memo, by Masini. The pedestal, formed of an-
cient architectural and inscribed fragments, is intended to suggest
Rienzi's antiquarian studies. He was slain at the foot of the Aracceli
steps. Higher up are cages containing a she-wolf and two eagles.

The design of the present *Piazza del Campidoglio, or Square
of the Capitol (PL II, 20), is due to Michael Angelo, and its execu-
tion though begun soon after 1538 was not completed until the
17th century. Michael Angelo superintended in person only the
erection of the statue of Marcus Aurelius and the construction
of the staircase-approach and of the flight of steps in front of the
palace of the Senators; the rest was executed from his plans, with
various modifications of detail, by his successors. The slanting posi-
tion of the palaces at the sides, whi-h causes the piazza to seem
larger than it is, is due to the situation of the earlier palace of the
Conservatori. — On the balustrade in front, adjoining the Dios-
curi, are the so-called Trophies of Marius, admirably executed works
probably dating from the reign of Domitian (brought hither from the
water-tower of the Aqua Julia, p. 183), and the statues of the Emp.
Constantine and his son Constans from the Thermae of Constantine

<£do III. Southern Quarters. ituivin. a. mc Capitol:

(p. 177). On the right is the first milestone of a Roman road, and
on the left the seventh of the ancient Via Appia.

In the centre of the piazza rises the admirable *Equestrian Statue
of Marcus Aurelius ("161-180), in bronze, once gilded, which stood
near the Lateran in the middle ages , and was , as the inscription
records, transferred hither in 1538. Its original position is unknown.
It owes its excellent preservation to the popular belief that it was a
statue of Oonstantine, the first Christian emperor (see pp. xxxiv, liv).
The height of the pedestal, which is said to have been designed by
Michael Angelo, is skilfully calculated so as to permit spectators to
inspect even the head of the statue.

Behind this monument rises the Palazzo del Senators (PI. II,
20), first mentioned as the 'Novum Palatium' (p. 235) in 1150. In
1300 it was restored and provided with a vestibule (lobium or
loggia) in two stories ; and after being injured by a fire in 1354, it
was again restored by Boniface IX. in 1389. Two of the four corner
towers of Boniface's edifice are still recognizable; one at the S.E
corner next the Forum and one at the N.W. corner in the Via del
Gampidoglio. The handsome flight of steps is by Michael Angelo
(p. 239). The facade, slightly altered from Michael Angelo' s design,
was constructed by Oirol. Rainaldi (1592). The river-gods which
adorn it are the Tiber (right) and Nile (left) ; in the centre is a foun-
tain, above which is a sitting statue of Rome from Cori (comp.
p. 443), much too small for its position. Michael Angelo had de-
signed to erect here a colossal figure of Jupiter. Petrarch was crowned
as a poet in 1341 in the great hall on the lower story (now dark and
used as a store for antiquities). On the upper floor is another spa-
cious hall, now used for the meetings of the civic council. The
senators' coats-of-arms (14-15th cent.) here were discovered in 1889
and 1895. The palace contains also the offices of the civic admi-
nistration, dwellings, and an observatory. The Campanile, by Mar-
tino Lunghi the Elder, was erected in 1579, to replace an older one.
The roof, which is adorned with a standing figure of Roma, com-
mands an extensive view (ascent, see p. 250).

The Via del Campidoglio to the right of this palazzo, and the Via
delt Arco di Settimio Severo (p. 271) to the left, descend to the Forum.

The two palaces at the sides now contain the Oapitoline Collec-
tions. The Palace of the Conservatori, or town-council, on the
right, originally erected about 1450 under Nicholas V., was rebuilt
in 1564-68 after Michael Angelo's plans by Prospero Boccapaduli
and Tommaso de' Cavalieri. The Cahtoline Museum (p. 244), on
the left, was erected in 1644-55 underlnnocent X. by GHrol. Rainaldi.
— The flights of steps and triple-arched colonnades on the E. side
of these palaces were erected by Vignola (1550-55) ; that to the left
behind the Capitoline Museum leads to the church of Santa Maria in
Aracoeli (p. 235); that to the right, on the opposite side, to the Monte
Caprino (now Via di Monte Tarpeo ; p. 249).

iAZZO dei CONSERVATOKI.

1°PIAW>.

ihAnsU'ltvon

Pal. of the Gonservatori. ItWE, 711. Southern Quarters. <ZoJ

A. *Palace of the Conservatori.

Admission, see pp. ISO, 151.

The principal door leads from the Piazza del Campidoglio into
the Court (Cortile). By the right wall of the court are the hands,
arm, and feet of a colossal figure in marble; and the cube con-
taining the cinerary urn of Agrippina, wife of Germanicus, which in
the middle ages was employed as a measure for corn. By the left
wall are high-reliefs of Roman provinces, separated by barbaric tro-
phies and weapons, which were found in the Piazza di Pietra
(p. 200); also a colossal head of Oonstantine the Great (perhaps
from Ms basilica, p. 264). — In the centre of the colonnade op-
posite the entrance, a statue of Roma; at the sides, statues of
barbarians in grey marble. To the left, in the corner, a colossal
bronze head.

In the Entrance Hall: opposite the staircase, 30. Modern
Columna rostrata, with the antique fragment of an inscription in
honour of C. Duilius, the victor at Mylse, B.C. 260 (the original
was probably replaced at the beginning of the imperial period by
the extant marble copy). Below the window is a statue of Charles
of Anjou, King of Sicily, who was senator of Rome in 1263-66,
1268-78, and 1281-84. Until 1870 this statue stood in the large
Hall of the Capitol.

Built into the walls on the first landing of the staircase are four
noteworthy reliefs, three of them from a monument of M. Aurelius,
found near Santa Martina in the Forum : on the right, 44. Sacrifice
in front of the Capitoline temple; on the long wall, 43. Entry of
theemptror; 42. Pardon of conquered enemies. The fourth relief
(41. Reception of an emperor, perhaps Hadrian, by Roma at a
triumphal arch) was found in the Piazza Sciarra. — On the second
landing: Relief from the triumphal arch mentioned on p. 199,
representing an emperor making an oration. Another relief from the
same arch may be seen on the next landing (p. 243). On the left
are the staircase leading to the picture-gallery (p. 244), and the
entrance to the —

*New Capitoline Collection, which contains chiefly bronzes and
the antiques found during the construction of the new streets of
the E. quarter of the city, which became municipal property (p. 168).
Comp. Helbig, Antiquities in Rome, vol. I, pp. 400-464.

"We first traverse two rooms with modern lists of Roman magis-
trates (Fasti Moderni). In the first, on the left, 100. Excellent Roman
portrait-head of the Republican period; then Greek portrait-heads
(206. Bust of Anacreon, found outside the Porta Portese in the
Gardens of Caesar) ; on the right, Roman portrait-heads. — In the
second room, more Roman portrait-heads; by the window, 241.
Head of Serapis, god of the lower world. — A third room contains

240 III. Southern vwu-rm a. nvAiuju. oo. The Capitol;

further Roman portrait-heads. By the end-wall, to the left, so-called
Head of Amalasuntha, Queen of the Goths (p. 93); to the right, a
replica of the head of the 'Thorn Extractor' (p. 242) and the head
of a youthful charioteer.

We now pass through a Corridor (Corridoio): on the left, sta-
tuette of Latona flying from the dragon, with her children Apollo
and Diana; foot of a colossal statue, the sandal of which is decorated
with bas-reliefs.

Hence we enter (to the right) the —

Sala degli Orti Lamiani, containing the marble antiquities
found on the Esquiline. On the right, *81. Head of a Centaur (Per-
gamenian school); 32. Copy (restored throughout, head modern) of
Praxiteles' Satyr pouring wine ; no number (between 121 and 42),
Bust of Hercules, after Scopas ; 40. Figure of a genius, with a cor-
nucopia and aegis ; 50, 49. Statues of girls; by the end-wall, 35, 37.
Tritons, found together with the following: *36. Half-figure of the
Emperor Commodus , with the attributes of Hercules; the marble
still displays its original polish; the pedestal is masked by the
kneeling forms of two Amazons (personifying provinces) bearing
a shield enclosed by cornueopise, below which is a celestial globe.
On the window -wall, 265. Large marble vase richly ornamented
with acanthus leaves; 58, 62. Well-preserved youthful portrait-
heads (found together); 143. Old woman carrying a lamb; 141. Old
fisherman ; 150. Statuette of a boy at play, aiming a nut at a pyra-
mid of nuts on the ground; 133. Graceful figure of a young girl,
seated; 6. Tombstone of Q. Sulpicius Maximus, a boy of HV2 years,
who, according to the Latin inscription, worked himself to death
after having distinguished himself in a competition (agon) in ex-
temporising in Greek verses, instituted by Domitian in 94 A.D. ;
the verses are inscribed on each side of the statuette of the youthful
poet. In the middle. *55. So-called Esquiline Venus, a young girl in
the act of fastening her hair; the Uraeus-serpent indicates that she
was dedicated to the worship of Isis (eclectic work of the Augustine
epoch; the upper part of the body is archaic, the lower realistic).

We now return to the above-mentioned —

Corridor. On the wall nearest the court: 61. Fragmentary
statue of a youth with sword-belt; opposite, 158. Apollo in the robe
of a citharcedus (head missing); 60, 68. Two statues of a post-Con-
stantine period, each holding aloft a cloth in the right hand as the
signal for starting in the chariot-race.

The corridor and the Sala degli Orti Lamiani open on a —

Garden (Oiardino), with two fountains, one with a figure of
Silenus, bearing a wine-skin on his shoulders, the other with a
horse being torn by a lion (head and legs of the horse badly restored).
The latter group was much admired by Michael Angelo. On the
N.W. wall is the partial reconstruction of a Plan of Rome (Forma

Pal. of the Coraereawm. rftTHW. ^ III. Southern Quarters. 241

Urbis), executed under Septimius Severus about 205 A.D. The
fragments, discovered for the most part in the 16th cent., have been
pieced together by Hiilsen and Lanciani and let into the wall as
nearly as possible in the manner in which the ancient plan was
displayed on the wall of the so-called Templum Sacrae Urbis (p. 264).
As is customary in antique plans, the top represents the S.; the
scale is about 1 : 250. — One side of the garden abuts on the Pal.
Caffarelli (p. 235). A portion of a gigantic column of Pentelic
marble built into the base of the wall here is the sole visible trace
of the Temple of Jupiter (p. 234).

To the S. of the above-mentioned corridor is the Room op thb
Archaic Sculptures (Sculture Arcaiche). The large slabs in the
floor of this room belong to the Oirdle Wall of the Temple of Jupiter,
and are thus still in their ancient position (comp. Plan, p. 239).
The two granite columns and the massive granite architrave were
incorporated in a mediaeval edifice, but doubtless originally belonged
to some ancient building in the neighbourhood. — In this room may
also be noticed: a replica of the so-called statuette of Penelope
(p. 261) ; fragment of a Greek tombstone with a female figure at
the top ; 176. Victory descending from heaven ; Greek funeral stele
on which is represented a girl with a dove ; torso of an Amazon
stretching her bow. Fragment of an Attic funeral stele (the deceased
with her servant) ; on each side is a female torsos. Tomb with a large
vase in terracotta; leaden vases and cinerary urn in alabaster. Top of
a well in terracotta, with an old Latin inscription (3rdcent. B.C.?);
female head with a diadem; 272. Youth mounting a chariot. — In
the passage: Bas-relief of an Athlete washing his hands. Frieze in
terracotta representing a procession of chariots ; opposite, fragments
of ancient wall-paintings. — Adjacent is the so-called —

Protomoteca, a collection of busts of celebrated Italians (espe-
cially in the domains of science and art), the nucleus of which was
formed by the busts removed from the Pantheon in 1820 by order
of Pius VII. The bust of Pius VII. is by Canova. Several eminent
foreigners also have been admitted : e.g. 'Winckelmann, Angelica
Kauffmann, Raphael Mengs, and Poussin. At the end of the corri-
dor is a monument to Canova by L. Fabris.

We again return to the Corridor : 84, 92. Athletes; 21. Large
sarcophagus from Vicovaro (p. 425) , representing the Calydonian
Hunt (the faces of the deceased and his wife are unfinished). —
Adjacent on the left is a room containing the objects found in the
gardens of Maecenas (Monumbnti dbgli Orti Mecenaziani ; see
P- 182). To the right, 154. So-called head of Maecenas. Statue of
a young woman wrongly restored as Urania with a globe and a
stylus ; more probably it was a Hygieia with a serpent and patera. —
Statue of Marsyas, in red marble, from Pergamum ; this formed
part of a group which included also a figure resembling the Grinder

Baedekei 16

242 in. Southern „ he Capitol:

in the Tribuna of the Uffizi (Florence). Opposite, *Head of a
Wounded Amazon ; statue of Hercules fighting ; *Relief of a dancing-
Maenad, with a knife and the hind-quarter of a goat, an admirable
Greek work. In the middle, a cornucopia (garden-ornament).

Room of the Bbonzbs. At the entrance, *Roman Priest's Boy
(Camillus), on a revolving pedestal ; Ephesian Diana, on a trilateral
altar. — Below the window: Fragments of a group representing the
combat of the gods (here replaced by satyrs) and the giants, a copy
of a group from the votive offering of King Attalus on the Acro-
polis at Athens (see p. Hi). In the corner: colossal head in bronze.
Farther on, Vase , found near Anzio, presented by King Mithri-
dates to a gymnasium (foot and handles modern); expressive *Bronze
Head, erroneously said to be that of L. Junius Brutus, who expelled
the kings and became the first consul ; eyes inserted. Fragment of
a Bull and (opposite) a * Horse, sadly mutilated, but of excellent
workmanship, found at Trastevere together with the Apoxyomenos
(p. 360). In the centre, the so-called *Capitoline Wolf, a work of
the 6th cent. B.C. ; the twins, Romulus and Remus, are modern.
The she-wolf was probably represented alone, as is shown by an-
cient Roman coins. This is the wolf that stood in the Capitoline
temple and was injured in B.C. 65 by lightning, of which traces
are evident on the hind legs. In the middle ages (before the 10th
cent.) this work, with other bronzes, was erected near the Lateran,
and was perhaps subjected at the same time to the pernicious
restoration by soldering and filing which has seriously injured it.
Opposite the window : *Thom Extractor (on a revolving stand), hoy
removing a thorn from his foot (p. xlvii).

Room of the Vases [Vast on the Plan), the so-called Museo
Italico, a collection of vases, terracottas (including two sarcophagi
with figures on the lids) , bronzes , and various anticaglias from
Etruria and Latium. Under glass : Silver ornaments of a cista with
archaic figures of animals, found at Palestrina. 'Tensa', i.e. chariot
mounted with bronze, the fittings only being antique ; bed with
ornaments in bronze and inlaid with silver and copper (the portions
in wood and tortoise-shell are modern); litter (modern) with frag-
ments of ancient metal fittings.

From the Room of the Vases, we return to the staircase-landing
and enter (left) the —

Sale dei Conservatori {i.e. of the town-councillors), with fres-
coes and other works of art, chiefly of the end of the 16th century.

We pass through a Cokridor (PI. IX) containing a collection of porcelain
presented by Conte Cini, and the old Chapel (PI. VIII) containing a fresco
(Madonna) in the style of Fiorenzo di Lorenzo. We then reach the VII. Room,
the walls of which are frescoed by Jacopo Ripanda (?) of Bologna with
scenes from the Punic Wars (retouched throughout). — II. Room (to the
right): Frescoes from the history of Rome under the Kings by Laureti;
statues of the generals Marcantonio Colonna, Alexander Farnese, Rospig-
liosi, Aldobrandini, and Barberini. — Two finely carved doors lead hence

Pal. of the CoWWvatori. TtOSIE. HI. Southern Quarters. 243

to the Large Saloon (PI. I) with frescoes by the Cavaliere cTArpino, repre-
senting the Combat of the Horatii and the Curiatii, and other scenes from
the period of the Kings; it also contains a bronze statue of Innocent X.
by Algardi, and a marble statue of Urban VIII. by Bernini. — We now
return through E. II into the III. Room. Scenes from the Cimbrian war on
the frieze ; bust of Lewis I. of Bavaria ; 4. Upper part of an antique statue
of Apollo. — IV. Room: Fragments of the -Fasti Consulares, or lists of
Roman consuls and (on the side-pillars) of all triumphs from Romulus to
the time of Augustus, found in 1546 (and smaller fragments in 1818 and
1872), between the temples of Castor and Faustina. They were originally
exhibited in the Regia (p. 252). The busts of B. Borghesi (by A. Tadolini)
and W. Henzm (by J. Kopf), two scholars who explained the Fasti, were
placed here in 1888; and one of 0. B. de Rossi (p. 402), the archaeologist (by
G. Galvani), in 1896. — V. Room. Several antiques : bronze jug in the form
of a female head ; two ducks ; head of Medusa, by Bernini. Bust of Michael
Angelo, not by himself. — Va. Room, a small room, with relics of Gari-
baldi: weapons, garlands, banners, letters, etc. — VI. Room, formerly the
assembly-hall of the Senate. The frieze, representing scenes from the life
of Scipio Africanus, is attributed to Ann. Carracci. On the walls is tapestry
woven at San Michele (p. 376).

We return once more to the landing and ascend the stairs.

Second Floor. On the upper landing of the staircase, a statue
of Persephone, with a fine head of Athena (belonging to another
work, restored as Roma). Inserted in the wall, a bas-relief re-
presenting the apotheosis of an empress. The heads of the chief
figures are restorations with the exception of the chin of the emperor,
which indicates him as Hadrian (not Marcus Aurelius or Antoninus
Pius). The empress, therefore, must be either the adoptive mother
or the wife of Hadrian {i.e. either Plotina or Sabina). This relief
belonged to the same arch as that on the second landing (see p. 239).
Here also are two marble mosaics (opus sectile, resembling the modern
Florentine work) from the walls of the Basilica of Junius Bassus on
the Esquiline (4th cent. A.D.), representing cattle torn by wild beasts.

The two adjoining rooms (comp. Plan, p. 239) contain frag-
ments of Mosaics , several of which are excellent : the Evil Eye
(malocchio), pierced and surrounded with animals to annihilate its
magic power ; the Rape of Proserpine, with the heads of the seasons
in the corners. — In the Corridob, to the right, figures and utensils

16*

J44 I II. Southern Quu, it,,,,, uv/iuu. u,. -.i« Capitol:

in bronze: Roman scales; statuettes of a household god (lar) and the
three-bodied Hecate. Then, objects found in the ancient Necropolis
on the Esquiline : cinerary urns, some of them in the shape of huts.
On the other side: vases, lamps, bas-reliefs used for interior de-
coration ; figures in terracotta, including an archaic antefixa in the
shape of a woman's head, perhaps belonging to the first temple of
Jupiter. On the left and right, two masks of Silenus, also antefixse,
the first archaic, the second of a later period. In the same cabinet,
on the right, archaic fragment of a Warrior wounded on the left
breast, whence the blood drops. — In the following cabinet, below,
in the middle, head in vitreous paste of various colours. Farther on,
cabinet with fragments of a large group in terracotta belonging to a
pediment. Finally, glasses and utensils in bone and, at the end of
the corridor, a statue of Hercules in gilded bronze, a somewhat clumsy
work. — We now enter the —

Picture Gallery founded by Benedict XIV. Good catalogue by
A. Venturi (IV4 fr-! not sold in the museum).

I. Room. On the entrance-wall, above: 1-10. Apollo and the Muses, fres-
coes by Lo Spagna. — Below, from right to left : 249, 250, 248. Tintoretto,
Passion and Baptism of Christ; 80. Dosso Dossi, Holy Family. Narrow
wall on the left: 46. Copy of Veronese, Virgin and saints. Opposite the
entrance: "84. Rubens, Romulus and Remus (ca.1610); 63. Copy ofN. Poussin,
Triumph of Flora (original in the Louvre). On this and the following nar-
row wall, above: 97-99. Carracci, Frescoes from the story of Cupid and
Psyche. — II. Room. 102-110. Views of Rome in the first half of the
18th cent., by Vativitelli and Occhiali. — III. Room (to the right of the
preceding). On the right, 227. Caravaggio, Fortune-teller; above. Copy of
Correggio, Virgin and saints (original at Parma). Narrow wall: ""221. Guer-
cino, St. Petronilla raised from the tomb and shown to her bridegroom, a
large canvas painted for St. Peter's, where it is replaced by a copy in
mosaic. — On the left, 17. Quido Ren'', Blessed soul (unfinished). — Re-
turning to R. II, we now enter (to the right) the IV. Room. On the
right, -14o. T-'tian, Baptism of Christ (ca. 1530); 240. Caravaggio, St. Se-
bastian; 245. . Guido Reni, same subject; 139. Velazquez, Portrait of himself
(1630) ; "137. A. van Dyck, Portraits of the painters Lucas and Cornelius de
Wael; 135. Marcetlo Venusti ('?), Portrait of Michael Angelo; *133. Van Dyck,
Portrait of the poet Thomas Killigrew and of Henry Carew; 254. Pietro
da Cortona, Alexander and Darius; 131. Moroni, Portraits. — V. Room.
61. Guido Reni, Magdalen; 59. Domenichino, the Cuma?an Sibyl ; 117. School
of Paolo Veronese, Virgin and St. Anne; 47. School of Guercino, the Persian
Sibyl; 197. P- Veronese, Rape of Europa; 57. Tintoretto, Magdalen. —
VI. Room. On the right, 204. Garofalo , Virgin; 146. Gentile Bellini (?),
So-called portrait of Petrarch; 141. Style of Bissolo (not Giov. Bellini),
Portrait; 29. Cola deW Amairice, Death of the Virgin; 36. School of Botti-
celli, Virgin and saints; 13. School of Fr. Francia, Virgin and saints (1513);
142. Ercole Grandi (? not Giov. Bellini), Portrait of a woman; 147. Buon-
consiglio, Portrait of himself.

The valuable Collection of Coins and the collection of Gold
Ornaments and Carved Oems have also been transferred to the second
floor and are not accessible to the public.

B. *Capitoline Museum.

This museum was founded by Clement XII. and extended by
Benedict XIV., Clement XIII., and Pius VI. The works carried off

Capitoline Museum. =- kumk. "111. SouthernQuarters. 245

by the French were restored with few exceptions to Pius VII. The
collection is much smaller than that of the Vatican, but is rich in ad-
mirable works. Admission, see pp. 150, 151. Catalogue (1888), 3 fr.
Comp. Helbig, Antiquities in Rome, vol. i, pp. 293-399.

Ground Floor. — In the centre of the Court (Cortile) : in front,
above the fountain, is the so-called *Marforio, a colossal river-god,
erected in the middle ages in the Via di Marforio opposite the
Career Mamertinus, where it was employed as a vehicle for the
sarcastic answers to the interrogatories of Pasquino (see p. 226).
By the wall, to the right and left of the Marforio : Figures of Pan,
two architectonic supporting-figures found in the Piazza dei Satiri,
on the site of the orchestra of Pompey's Theatre (p. 228). Among
the other sculptures here, most of which are unimportant, are two
Egyptian Lions of basalt (formerly at the foot of the steps of the
Capitol), two Granite Columns with reliefs, and (44, 51) two Cyno-
cephali (dog-faced baboons) in basalt, all from the Temple of Isis
near Sant' Ignazio (p. 203).

Cobeidor (PI. 4) on the groundfloor. To "the left of the
entrance: 4. Colossal statue of Athena (period of Phidias); Sarco-
phagus with Bacchanalian representations , purposely mutilated.
At the end of this corridor, to the right: 21. Lower part of a statue
of a barbarian in pavonazzetto, originally on the attica of the Arch
of Constantine (p. 270).

The three rooms on this side (PI. 1-3) which contained ancient
sculptures, mosaics, sarcophagi, etc. are closed at present; their con-
tents are to be transferred to the Palazzo dei Conservatory A collec-
tion of Christian inscriptions will probably be installed here.

We return to the Corridor (PI. 4). To the right of the principal
entrance : 35. Polyphemus the Cyclops with one of his victims ;
(right) 40. Colossal Mars, a copy of the image in the temple men-
tioned at p. 273 (legs, arms, and cloak modern) ; by the window,
38. Hercules, wrongly restored by Algardi (Hercules originally knelt
on the hind). The Hydra (No. 39) and leg, exhibited beside this
work, belonged to a different group though found at the same place.
— Adjacent, to the right, is the entrance to three rooms containing
inscriptions and several interesting sarcophagi.

I. Room (PI. 5). In the centre : Ara, which stood in the market-
place of Albano till 1743, with archaic representation of the
labours of Hercules. — II. Room (PI. 6) to the right: 5. Sarcophagus
with battle between the Romans and Gauls (betraying the influence
of figures from the votive monument of Attalus I. at Athens; p. lii);
(left) 11. Cippus of T. Statilius Aper, an architect ('mevsor aedi-
ftciorum1), with a wild boar (aper) at his feet and a measuring-wand
and other instruments on the sides. — III. Room (PL 7). Large
Sarcophagus (formerly supposed to be that of Alex. Severus and
his mother Mamm;ea), with scenes from the life of Achilles : Achilles

246 III. Southern Q^,,^.:. ^„^. ~. - ie Capitol:

discovered among the daughters of Lycomedes, (left) farewell of
Deldamia, (right) arming of Achilles, at the hack, Priam begging
for the body of Hector (found at the close of the 16th cent, with
the Portland Vase of the British Museum in the Monte del Grano,
near the Porta Furba, p. 392). On the rear wall, 3. Relief of an
Archigallus (Priest of Cyhele). — "We now return to the corridor,
and ascend the staircase to the first floor.

First Floor. — Straight in front: I. Room of the Dying
Gladiator. In the centre: **1. So-called Dying Gladiator, found
at Rome in the 16th cent, and originally preserved in the Villa Ludo-
visi. The trifling restorations (right arm, toes, and part of the base)
are said to have been made by Michael Angelo. The dying warrior,
recognized as a Gaul by his twisted collar, short hair, and moustache,
is sitting on his shield , while the blood pours from his wounded
breast; he has evidently inflicted the fatal blow himself, having
previously broken the curved horn which lies on his shield. He
exhibits the same dignity of character as the Barbarian in the group
now in the Museo Boncompagni (p. 173), which was probably found
at the same time (comp. p. Hi). The visitor will readily recall the
lines by Byron: Childe Harold, Canto iv, 140. — Right wall: 5.
Head of Dionysus, once erroneously taken for a woman's (Ariad-
ne's) ; 4. Amazon, in the style of that from the Villa Mattei (p. 353) ;
the head is antique but belonged originally to some other statue ;
3. Alexander the Great; 2. Pergamenian statue of a goddess. Op-
posite the entrance: 16. So-called M. Junius Brutus, the 'et tu Brute'
of Caesar (now said to be a portrait of Virgil); 14. Statue of a girl
from the Villa of Hadrian, restored as Flora. — Left wall : *12.
Portrait statue of a youth, from Hadrian's Villa, sometimes errone-
ously described as Antinous; *10. Besting Satyr of Praxiteles, one of
the best of the extant copies (p. xlix).

This is the figure that suggested the title of Nathaniel Hawthorne's
romance, The Marble Faun (see p. xxvii), in the opening pages of which
occurs a fine description of the statue.

9. Girl protecting a dove. Entrance-wall: *8. Portrait statue,

so-called Zeno.

II. Stanza del Fatjno. On the entrance-wall, the Lex Regia of
Vespasian (black tablet of bronze), whence Cola di Rienzi (p.xxxviii)
once demonstrated to the people the might and liberty of ancient
Rome. In the centre, 1. Satyr (Fauno) in rosso antico, raising a
hunch of grapes to his mouth, from Hadrian's Villa, on a re-
markable altar, dedicated to Jupiter Sol Serapis. Window-wall: 26.
Circular ara with a rostrum, and the inscription Ara Tranquillitatis ,
found along with the adjoining Ara Ventorum and Ara Neptuni
at the harbour of Anzio (p. 439), where they were employed by
sailors for offering sacrifices on their embarkation or return. — Wall
of egress: 3. Sarcophagus with relief of Diana and Endymion;
upon it, 6. Ideal head; 8. Boy with mask of Silenus. Back-wall,

Capitoline MuW&n. komk. =77/. Southern Quarters. 247

61. Silenus. — Entrance wall: 16. Boy struggling with a goose,
copy of a statue by Boethos; 18. Sarcophagus with battle of Ama-
zons ; upon it, 21. Ariadne.

III. Large Saloon. In the centre : 2, 4. Two Centaurs in
dark-grey marble, by Aristeas and Papias, found in Hadrian's Villa
(p. 420) in 1736. Originally each centaur bore a Cupid on his back,
but while the younger obeys the will of love with joy, the older
regards his tormentor with mingled wrath and pain. 3. Colossal
basaltic statue of the youthful Hercules , found on the Aventine ;
it stands on an altar of Jupiter, embellished with representations
of his birth, education, etc. — Window-wall to the left of the en-
trance: 30. Archaic' Apollo ; 31. Apollo (very soft in treatment);
33. Wounded Amazon, the name of the sculptor, according to the
inscription on the trunk, was Sosikles (copy of a work by Kresilas,
a contemporary of Phidias); 36. Athena. — Wall of egress: 7.
Colossal statue of Apollo; 8. Athena; 9. Colossal bust of Trajan
with civic crown. — "Right wall: 13. Hadrian as Mars. A doorway
in the centre leads to Corridor VI (p. 248). 20. Archaic Apollo ;
*24. Ceres. — Entrance-wall: 27. Hunter with a hare; 28. Har-
pocrates, god of silence, from Hadrian's Villa (p. 420).

IV. Room of the Philosophers. On the walls, beautifully exe-
cuted *Reliefs, six from the frieze of a temple of Neptune, with
sacrificial implements and parts of ships (Nos. 99, 100, 102, 104,
105, 107). — In the centre: *98. Sitting Statue, erroneously called
Marcus Claudius Marcellus; the robes are Greek, not Roman. Also
ninety-three *Busts of Celebrated Characters of Antiquity, to some
of which arbitrary names are affixed: 1. So-called Virgil (really an
Eleusinian deity) ; 4, 5, 6. Socrates; 8. Carneades ; 9. Aristides the
sophist (?); 10. Hellenistic poet (perhaps Callimachus or Philetas),
usually but groundlessly described as Seneca; 21. Diogenes the
Cynic; 22. Sophocles; 25. Theon ; 31. Demosthenes; 33, 34, So-
phocles; 35. Alcibiades (?) ; 38. Chrysippus (?) ; 41-43. Euripides.
Opposite, in the lower row: 44, 45, *46. Homer, 48. Cn. Domitius
Corbulo, general under Claudius and Nero: *49. Scipio Africanus(?) ;
58. Plato; *59. Young Barbarian, sometimes identified as Arminius
the Cheruscan though the facial type is scarcely Germanic; 63.
Epicurus and Metrodorus, a double hermes; 64. Epicurus; *82.
jEschylus (?). The names of the busts by the window-wall are
unknown.

V. Room op the Busts of the Emperors. Reliefs on the
entrance-wall : *92. Endymion asleep , beside him the watchful
dog; *89. Perseus liberating Andromeda (these two are similar in
style to the reliefs in the Pal. Spada, p. 230). In the centre :
*84. Sitting female statue, long believed to be the Elder Agrip-
pina, wife of Germanicus, an identification that is now disputed
(comp. the bust No, 10, below). — The collection of the ^Emperors'

248 III. Southern Quarters. ROME. a. The Capitol :

Busts is one of the most, complete in existence; the names are for
the most part verified by coins (comp. p. liv).

The numbering of the busts commences in the upper row, to the left
of the entrance-door. 1. Julius Csesar; 2. Augustus; 3. Marcellus, nephew
of the latter (V); 4. Tiberius; 5. Germanicus; 7. Drusus the elder, brother
of Tiberius; 8. Antonia, wife of the elder Drusus, mother of Germanicus and
Claudius; 9. Germanicus; 10. Agrippina, his wife, daughter of M. Agrippa
and mother of Caligula; '11. Caligula, in basalt; 12. Claudius; 13. Messa-
lina, fifth wife of Claudius ; 14. Agrippina the younger, daughter of Ger-
manicus , mother of Nero and last wife of Claudius ; 15. Nero ; 16. Nero
(freely restored); 17. Poppeea, Nero's second wife; 18. Galba (modern);
19. Otho; 20. Vitellius; 21. Vespasian; 22. Titus; 23. Julia, his daughter;
24. Domitian; *25. Domitia, wife of Domitian; 26. Nerva (modern?); 27.
Trajan; 28. Plotina, his wife; 29. Martiana, his sister; 30. Matidia, her
daughter; 31, 32. Hadrian, 33. Sabina, his wife; 34. JElius Csesar, his
adopted son; 35. Antoninus Pius; 36. Faustina the elder, his wife; 37.
Marcus Aurelius as a boy ; 38. M. Aurelius more advanced in life ; 39.
Faustina the younger, daughter of Antoninus, wife of Aurelius ; 41. Lucius
Verus; 42, 43. Commodus; 45. Pertinax; 48. Macrinns; 49. Unknown,
executed, according to the inscription, by Zenas of Aphrodisias; 50, 51.
Septimius Severus ; 53. Caracalla ; 57. Heliogabalus ; 60. Alex. Severus ; "62.
Maximin; 63. Maximus, son of Maximin; 64. Gordian Africanus; 65. Gor-
dian; 66. Pupienus; 69. Philippus Caesar; 76. Gallienus; 82. Julian the
Apostate (? the inscription on this bust is mediaeval).

VI. Cobridob.. At the end to the left : no number, Beautiful
marble vase on an archaistic *Puteal or circular well-head, with a
procession of 12 gods : Jupiter, Juno, Minerva, Hercules, Apollo,
Diana, Mars, Venus, Vesta, Mercury, Neptune, and Vulcan. By the
window to the left: 33. Bust of Caligula. Then, the back of the
visitor being turned to the window : (1.) 30. Trajan ; (1.) *29. Pallas,
found at Velletri, a replica of the Minerva Giustiniani (No. 114;
p. 360), without the segis ; (1.) 25. Jupiter, on a cippus with relief
of Claudia Quinta , the Vestal Virgin , drawing a boat containing
the image of the Magna Mater up the Tiber; (r.) 38. Bacchus; (r.)
42. Female draped statue. (The door opposite leads to the Venus
room, see p. 249). Left, 20. Psyche, tormented by Cupid; (r.)
Sarcophagus with representation of the birth and education of Bac -
chus. In the following compartments of the window-wall and rear
wall are inscriptions from the columbarium of the freedmen of Livia
(near the church of Domine Quo Vadis p. 393; now destroyed).
Right : 48. Son of Niobe falling on his knee ; (1.) 15. Colossal head
of Venus ; (r.) *49. Colossal female head (the eyes, of vitreous paste,
were inserted), an original work by Damophon of Messene (2nd cent.
B- C); 51. Colossal head of Aphrodite; 52. Draped statue of Aphro-
dite, restored as a Muse ; (1.) 10. Octagonal cinerary urn with Cupids ;
8, Old woman intoxicated. Here is the entrance to the Room of the
Doves. Then, (1.) 5. Cupid bending his Bow; (r.) 60. Flute-playing
satyr; 50. Copy of the Discobolus of Myron (p. 215), incorrectly
restored as a falling warrior.

VII. Room of the Doves , so called from the *Mosaic on the
right wall : Doves on a Fountain Basin , found in Hadrian's Villa
near Tivoli (p. 420), copy of a celebrated work by Sosos of Perga-

Tarpeian RocR. KUJWK. Til. Southern Quarters. 249

mum, mentioned by Pliny (Nat. Hist. 36,184). Below it, a sarco-
phagus: 13. Prometheus forming man, whom Minerva inspires
with life, in a style showing the transition to the Christian style
of art. On the right wall, Mosaic with masks. Under the mosaic :
37. Sarcophagus with Selene and Endymion. On the end-wall are
several fine Roman portrait-busts. On the left wall, in the 2nd
window, 83. Man Tablet (Tabula Iliaca), a small relief in palom-
bino , a soft kind of marble , with the destruction of Troy and
flight of .<Eneas in the centre, and many other incidents from the
legends of the Trojan war, explained by Greek inscriptions, found
near Bovillae. 83a. Fragment of a representation of the shield of
Achilles, inscribed on the back as the work of Theodores. On the
margin of the shield were 124 lines from Homer's description of
the shield in Book XVIII of the Iliad, but only 75 are now left.
83b. Fragment of another representation of the same subject.

VIII. Room of Venus. Opening off the corridor is the Venus
Room, which contains (on a revolving pedestal) the ** Capitoline
Venus, unquestionably the workmanship of a Greek chisel, and the
most admirable of all the existing later developments of the idea
of the Cnidian Aphrodite of Praxiteles (p. xlix), which is known to
us from coins. The statue is to be regarded as the perfect type of
feminine grace, not as intended as a temple figure. It was found
near San Vitale on the Quirinal (p. 174). — Left, Leda; right,
*Cupid and Psyche, found on the Aventine.

On the S. height of the Capitol, called the Monte Caprino
(to which a flight of steps ascends on the E. side of the Palace of
the Conservatori , comp. p. 230), stand the so-called Casa Tarpea
with the Protestant hospital, and the German Archaeological In-
stitute, erected in 1874-76 by Laspeyres, at the cost of the German
government. In the garden (custodian, Via di Monte Tarpeo 25)
is shown the Rupe Tarpeia, or Tarpeian Rock, whence persons
condemned to death were hurled down. Ancient substructures of
solid stone, which were discovered in the garden of the Palazzo
Caffarelli (p. 235) in 1866, belonged to the temple of the Capito-
line Jupiter (p. 234).

The imposing ruins on which the Senatorial Palace has been
erected (entrance by the first iron gate to the left in the Via del
Campidoglio, as we come from the Piazza del Campidoglio; (hen
enter the door to the right with the superscription 'Tabulario e Torre
Capitolina'; admission daily 10-4, 50 c, closed on Sun.) belonged to
the*Tabularium, erected in B.C. 78 by the consul Q. Lutatius Catulus
for the reception of the public archives. Grouped round the square
court were large vaults ; an open colonnaded court with half-columns
in the jDoric style, still visible, faced towards the Forum. The
vaults were used in the middle ages as a public salt-magazine,

£D(J ///. Southern Quarters. ROME. b. The Forum

and the blocks of peperino have been much corroded by the action
of the salt. The rooms contain architectural and sculptural frag-
ments from the neighbouring temples, such as (at the end, to the
left) the splendid main cornice of the Temple of Concordia (p. 253),
a restored cast of the cornice of the Temple of Vespasian, etc. —
From the middle of the colonnade we may ascend a flight of steps to
the left marked 'Torre Capitolina'. We first reach a room with the
inscription from a monument raised by the Emperor Frederick II.
after his -victory over the Milanese at Cortenuova in 1237, in Rome
(whither he sent the captured 'carroccio' or banner-chariot); and
then traverse a short corridor with mediaeval and modern inscrip-
tions (standard measures, etc.), to the top (259 steps in all) of the
Campanile of the Palazzo del Senatore (p. 238). The highest gallery
commands one of the most beautiful **Views of Rome, especially
to the S.

Buhlmann and Wagner's panorama of ancient Rome (p. xxviii) is taken
from this point; visitors are recommended to bring a copy of it with them.

b. The Forum Romanum and the Colosseum.

In the most ancient times the Capitol and Palatine were sep-
arated by a deep and marshy valley about 38 ft. above the level of
the sea, and 22 ft. above the level of the Tiber. The inhabitants
of the city on the Palatine must have begun at a very early period
to drain and cultivate this valley, at the same time regulating, em-
banking, and covering the channel of the streamlet which flowed
out of it to the Tiber. In this manner was gradually formed the
Cloaca Maxima (pp. 258, 283). — Tradition makes the depression
on the slope of the Palatine the scene of the conflict of the Romans
under Romulus against the Sabines under Titus Tatius after the
rape of the Sabine women. After the hostile tribes made peace on
the CoMrriuM, the highest lying portion at the foot of the Capitol,
they chose the valley to be the Forum, or central point, of the new
community. The Forum and the Comitium adjoined each other,
somewhat as the Piazza and Piazzetta at Venice adjoin each other
to-day, but they served different purposes. In the Comitium, the
smaller but more dignified square, which extended from near the
Arch of Severus to the Via Cremona, the popular assemblies and
courts of justice were held. On it lay the Curia Hostilia, or coun-
cil-hall, which is said to have been erected by King Tullus Hos-
tilius, and the Career Mamertinus (p. 271). The Forum, on the
other hand, was originally used for trading-purposes, as a market-
place, etc. ; and along its sides were ranged the Tabemae Veteres
and Novae, or shops, which were at first occupied by butchers and
other craftsmen. In the course of time a number of temples, public
buildings, and monuments were erected in and around both squares.
The Temple of Vesta and Shrine of Jutuma are among the earliest
sanctuaries of which the ruins still remain. The Temples of Saturn

Geo«raph.Anstalt von. Wagner &Del>es, Leipzig.

AT I HK V S

UU1±

Romanum. mjMB,. III. Southern Quarters, obi

(B.C. 497) and of Castor and Pollux (484) date from the Re-
publican period. The Temple of Concord (366) commemorates the
termination of the protracted struggle between the Patricians and
the Plebeians. With the extension of Rome's supremacy, especially
after the SamniteWar, the development of public life required more
and more space. The popular assemblies were transferred from the
Comitium to the Forum, and the small dealers were banished from
the latter to the 'Macellum', or flesh-market, and the 'Forum Pis-
catorium', or fish-market, which were now erected on the N. side,
while the shops thus vacated were occupied by money-changers and
goldsmiths (tabernaj argentarise). The Forum was used also for the
celebration of the funerals of the nobility, for the gladiatorial com-
bats introduced about the year 264, and on other public occasions.
The first expedient for gaining space, resorted to after the second
Punic War, was the erection of basilicas, or quadrangular courts
surrounded by colonnades, adjoining the Forum, with a view to draw
off a portion of the traffic. In 184 Cato the Elder erected the Basilica
Porcia on the N. side; in 179 followed the Basilica AZmilia, and in
169 the Basilica Sempronia. The task was prosecuted with the ut-
most energy by C-esak, who extended the Forum by the addition of
the Forum Julium (p. 273), and appears to have projected a cut-
ting through the hill which connected the Capitol with the Quirinal
in order to facilitate communication with the new quarter, then
rapidly springing up in the Campus Martius. He also built the
Curia Julia (p. 258) which occupied the main portion of the old
Comitium, and he erected the spacious Basilica Julia on the S.
side of the Forum. Augustus proceeded to carry out the plans of
his uncle, and to that emperor is chiefly due the arrangement of
the Forum which the present excavations are bringing to light. All
the edifices of the Republic were restored by him and his succes-
sors, whose building operations extended without intermission over
the first four centuries of the Christian era. External magnificence
of public life, it would appear, was intended to compensate for the
irrevocable loss of liberty and power. Five new fora, constructed
between the time of Caesar and that of Trajan, adjoined each other
on the N. side of the old Forum, thus connecting the central point
of the original city with the palatial buildings of the Campus Mar-
tius. By these new fora the Forum of the Republic would have
been wellnigh eclipsed, but for the glorious traditions connected
with it, to commemorate which it was profusely adorned with gilded
bronzes and rare marbles, with columns, triumphal arches, statues,
and other works of art.

The Forum was seriously injured by a fire in the reign of
Carinus (283-84); but Diocletian and his successors restored many
monuments. The ancient buildings were restored for the last time
in the reign of Theodoric the Goth, in the first half of the 6th cen-
tury. The last monument erected in the Forum was the Column of

&02i HI. Southern Quarters, iiuiu.u. u. me r orum Romanum :

Phocas (see p. 255), but the rudeness of the architecture distinctly
betrays the decline of the period. As early indeed as the latter half
of the 6th cent, had begun the waT of extermination waged by the
middle ages against paganism. Ancient public buildings were trans-
formed into churches, such as those of Santi Martina e Luca, Sant'
Adriano, Santi Cosma e Damiano, and Sancta Maria Antiqua, and,
from the 8th cent, onwards ancient temples also met with the same
fate, as in the case of Sancta Maria Nova, San Lorenzo, and others
that have now disappeared. Interspersed with these churches were
the towers and castles of the Roman nobility, called into existence
by the destructive mediaeval feuds. Throughout a thousand years the
edifices of ancient Rome were employed as quarries, from which
churches and secular buildings alike derived their columns, their
Mocks of solid stone, and, owing to a still more destructive pro-
ceeding, their supplies of lime from the burning of maTble. It need
hardly be observed that the bronzes of antiquity were still more
eagerly appropriated in an age when metal of every kind was scarce.
The systematic destruction of the Forum was followed by its
systematic burial in rubbish-heaps, so that the ancient pavement
is at places 40 ft. below the present level of the ground. As early
as the 12th cent, the middle of the Forum seems to have been
impassable, to judge from the ancient directions for processions ;
and the accumulation of rubbish was probably accelerated by the
demolition of the towers of the Frangipani and other noble families
(1221, 1257). In the 15th cent, the Forum was largely occupied
by gardens and cane-brakes ; its desolate area was covered with
the teams of buffaloes and oxen of the peasantry, and mechanics
established their workshops around it, while a few isolated columns
alone protruded from the rubbish. The very name of Foram was
forgotten ; and down to our own day the famous site was popularly
known as the Campo Vaccino. As early as 1519 Raphael had
formed a plan for restoring the ancient city, and especially the
Forum; and subsequently, particularly in 1546-47, several ex-
cavations were begun in the neighbourhood of the Arch of Severus
and the temples of Castor and Faustina. The object in view,
however, being merely the discovery of works of art and inscrip-
tions or of hewn stones for building purposes, the excavations were
soon filled up again. It was not until the 19th cent, that this, the
most historical site in ancient Rome, was systematically explored.
The arch of Severus, the column of Phocas, and the Olivus Capito-
linus (p. 255) with its temples, were disinterred under the super-
intendence of Carlo Fea in 1803-19, while in 1835 and 1848 part
of the Basilica Julia was excavated by Canina. The Italian govern-
ment resumed these works on a large scale, at first under the care
of P. Rosa (1871-75), and then under the care of Rod. Lancicni.
(1882-84). The latest operations, carried on since 1898 under Com-
mendatore C. Boni, have nearly doubled the excavated area of the

LATO OCCIDENTALE

FORO ROMANO

Sea hi 1:1000

Mclri

Geograph.Aiisl vASragner iDebes,Lpij>2d^

Col. of the Tweirv-ums. ttuwe;. ill. /southern Quarters. 25o

Forum, and have yielded results of the highest value. The most
ancient days of Rome have been brought hack to us by the archaic,
necropolis adjoining the Temple of Faustina (p. 263 ; discovered in
1902) and by the inscribed stele found under the 'lapis niger'
(p. 256) in 1899; while the most brilliant epochs of the imperial
period are recalled by the Basilica ^Emilia (p. 258), the Temple of
Augustus -with its associated buildings, and the Shrine of Juturna
(1899-1900). A unique monument of the Byzantine period in Rome
is preserved in the church of Sancta Maria Antiqua, 'with its rich
fresco decoration (p. 260), discovered and restored in 1900-1902.

The Entbance to the excavations (open from 9 a.m. ; comp. pp. 150,
151) is at the corner of the Via delle Grazie and the Via della Conso-
lazione. The part of the Forum next the Capitol, containing the Colonnade
of the Twelve Gods and the temples of Vespasian and Concordia, is now
enclosed hy a railing and is best viewed from above. — See the subjoined
Views of the S. and W. Sides of the Fobdm. At the top are reconstruc-
tions of the ancient appearance of the Forum, and below its present appear-
ance. The longer axis of the Forum lies almost exactly from N.W. to S.E.
For the sake of simplicity, however, we describe the side between Sant'
Adriano and San Lorenzo as the N. side, and that between the Basilica
Julia and the Temple of Castor as the S. side. — Regulations for photo-
graphing, sketching, etc., see p. xxii.

Descending from the piazza of the Capitol through the Via del
Campidoglio to the right, past the Senatorial Palace (comp. p. 238),
we enjoy a good *Sub.vey or the Fobum. To the left, below us, lie
the temple of Saturn , to which the eight unfluted columns belong,
the three columns of the temple of Vespasian, and the arch of Septi-
mius Severus. Behind, partly hidden by the columns of the temple
of Saturn , is the column of Phocas ; farther on is the temple of
Faustina, with well-preserved octostyle portico, and, opposite, the
three columns of the temple of Castor. The Sacra Via, ascending
from the temple of Faustina, passes (on the left) the circular temple
of Romulus with the church of Santi Cosma e Damiano, then the
huge arches of the basilica of Constantine, while on the right are the
remains of numerous brick-built shops and houses. In the back-
ground appear the church of Santa Francesca Romana, on the site
of the temple of Venus and Roma, the Colosseum, the arch of Titus,
and to the right the ruins and gardens on the Palatine.

The building immediately below the Tabularium (p. 249), in
the angle formed with it by the street, is the Colonnade of the
Twelve Gods (deorum consentiumj, whose images were erected here
in A.D. 367 by Vettius Agorius Praetextatus, the praefectus urbis,
and one of the principal champions of expiring paganism. In 1858
the ruin was freely restored.

To the right of the Colonnade of the Twelve Gods and close to
the Tabularium, rise three columns, belonging to the *Temple of
Vespasian, erected under Domitian and restored by Septimius
Severus. The inscription ran thus : 'Divo Vespasiano Augusto Sena-
tus populusque Bomanus ; imperatores Caesares Severus et Antoninus
Pii Felices Augusti restituer(unt).' A part of the last word only is

^04 III, Southern Quarters. ROME. 67 The Forum Romanum:

preserved. The columns and entablature display excellent work-
manship (restored cast in the Tabularium, see p. 250). In front
the temple had a portico of six columns. An egress from the Tabu-
larium (p. 249) was evidently built up by the back-wall of the cella.

Farther on, to the right, and with its back adjoining the Tabu-
larium, is the Temple of Concordia (p. 251), founded in B.C. 366
by M. Furius Camillus, to commemorate the reconciliation between
the Plebs and the Patricians, and rebuilt on a magnificent scale
by Tiberius in B.C. 7. Its remarkable arrangement would appear to
date from this later restoration. The Cella or inner space of this
temple differs from the usual type in having its longer axis (130 ft.)
at right angles to the longer axis of the temple ; it is 82 ft. wide.
The N. part of the cella is concealed by the ascent to Aracoeli.
A broad flight of steps ascended to the Pronaos , which lay 20 ft.
above the level of the street and was 88 ft. long and 46 ft. wide.
The interior of the temple was frequently used in early times for
meetings of the Senate, and after the restoration by Tiberius it
seems to have served chiefly for the exhibition of works of art.

In order to continue our examination of the Forum we now pro-
ceed to the entrance in the Via delle Grazie (p. 253) and visit first
the Basilica Julia.

The Basilica Julia was founded by Caesar with a view to
enlarge the Forum, and was inaugurated in B.C. 46, after the battle
of Thapsus , though still unfinished. Augustus extended it, but
before he could witness its completion it was burnt down. The
building was again twice injured by fire towards the end of the
3rd century. It was restored several times, finally in A.D. 416. After
several partial excavations, it was almost all extricated in 1871-83.

The Gkound Plan of the basilica is a rectangle, about 110 yds. long
and 53 yds. wide. On the four sides were double aisles which enclosed
a Centkal Space, about 90 yds. by 17 yds., paved with variegated African
and Phrygian marble, the costly nature of which indicates that the space
was roofed over. The greater part of the pavement has been badly restored,
a few fragments of the original only having been preserved. The sittings
of the tribunal of the Centumviri, in four different sections, took place
here. The Aisles were paved with white marble, on which are still seen
a number of circles, and occasionally writing , scratched on the surface
by visitors. These were used in playing a game resembling draughts;
for the ancient Romans were as fond of pastimes as the modern. Of the
Piers nothing but the bases remain; the blocks of which they con-
sisted were n«ed in building the Pal. Giraud in the Borgo (p. 317). The
brick pillars have been reconstructed, in a manner indicated by some
lingering remains and partly with the original materials. On the N.W. side
the remains are somewhat more important, owing to the fact that a
mediaeval church (Santa Maria in Cannapara) was built in this part of
the basilica. Here, on the side next the Vicus Jugarius, still stand marble
pillars adorned with Doric pilasters, while at the back, facing the Con-
solazione, are lofty walls of tuffstone and travertine. Staircases ascended
here to the upper story.

The main facade of the Basilica Julia is skirted by the Via
Sacra, on the right side of which, opposite the Basilica, are eight

Temple of SaiWa. HOME. If I. Southern Quarters. 255

large brick pedestals, ouce coated with marble. The hasty con-
struction of these and the brick-stamps refer them to the period of
Diocletian. The first two pedestals now support colossal columns
(granite and pavonazzetto) , which were found in fragments at
their foot in 1873 and were re-erected in 1898-99. The bases
of the columns were restored on the model of that of the Phocas
column.

A little to the right from the Sacra "Via, almost opposite the last
of the brick pedestals, are the foundations of the Triumphal Arch
of Tiberius, discovered in 1901. The arch was erected by Tiberius
in A.D. 16 to commemorate the victories of Drusus over the Ger-
manic tribes and the recovery of the Roman insignia lost at the
battle of the Teutoburgian Forest. A few marble blocks and frag-
ments of cornices belonging to the arch lie near the last brick
pedestals. The street begins to ascend beyond the arch, forming the
Clivus Capitolinus, which led up in several curves from the Forum
to the Temple of Jupiter (p. 234). An ancient retaining- wall,
recently discovered here, has been wrongly identified with the
Rostra Vetera or Rostra Caesaris (comp. below). — Upon the Clivus,
immediately to the left, was situated the Temple of Saturn.

The Temple of Saturn, of which eight columns are still stand-
ing on a high basement, was consecrated by the consuls Sempron-
ius and Minucius , B. C. 497, and restored by Munatius Plancus
(about B.C. 44). The inscription, Senatus populusque Romanus
incendio consumptum restituit, refers to a later restoration, under-
taken hastily and without taste. From the earliest times it was the
depository of the ALrarium Publicum, or public treasury. Of the
lofty flight of steps by which the portico was approached there are
now but scanty traces.

On the Clivus Capitolinus, near the Arch of Severus, are the conical
brick remains of the Umbilicus Urbis Romae, or ideal centre of the city.
Behind it, under a wooden roof, are some very ancient structures of tufa,
which are supposed to be the Volcanal, an altar and sanctuary of Vulcan.
On the road in front of the Temple of Saturn traces have been found of
the MilHarum Aureum, a column giving the names and distances of the
chief towns on the roads radiating from Rome, erected by theEmp. Augustus
in B.C. 28.

To the right of the Arch of Tiberius, in the centre of the W.
side of the Forum, we see the massive stone remains of the Rostra,
or orators' tribune, erected by Augustus. This tribune consisted of
an extensive raised platform, adorned with statues and tablets, and
giving the orator room to walk up and down during his speech. It
has been aptly compared to the preaching stages in some of the
Roman and Neapolitan churches. The front was thoroughly restored
in 1903.

The original tribune derived the name of Rostra from the iron prows
of the war-ships of Antium with which it was adorned after the capture
of that town in B. C. 338. Its position cannot now be definitely fixed,
but was certainly nearer the Curia (Sanf Adriano). Caesar transferred it to
the end of the Forum in the course of his extensive building operations.

^Ob III. Southern Quarters. ROME . b-The Forum Romanum :

The holes in which the iron prows were fastened are still visible in the
massive blocks of hewn stone.

Opposite the Rostra, on a rude substructure of blocks of tufa
occupying part of the site of the Forum proper (p. 259), rises the
latest monument of antiquity in the Forum. This is the Column of
Phocas, 54 ft. in height , which was erected in 608 in honour of
the tyTant Phocas of the Eastern Empire, by the exarch Smaragdus.
having been taken by him from some older building. It was for-
merly crowned with a gilded statue of Phocas. In the interior of the
basement a quadrangular brick base, probably of the 4th cent. A. D.,
was discovered in 1903. The Column of Phocas, which long formed
the distinctive mark of the Forum (Byron's 'nameless column with a
buried base'), was at length disinterred in 1813 at the cost of the
Duchess of Devonshire.

Among the monuments now standing on the pavement of the
Forum, the first place in point of artistic execution and preservation
is taken by the Anaglypha Trajani, two marble balustrades adorned
with admirable reliefs. These were found in 1872 incorporated in
the foundations of a mediaeval building. In antiquity they prob-
ably stood in the centre of the side-balustrades of the Rostra. The
reliefs represent events that took place in the Forum itself, and
their architectural backgrounds are of great assistance in determin-
ing its appearance in antiquity.

The First Relief (next the Capitol) alludes to Trajan's 'Alimenta1, or
institution for poor children: on the right is the emperor, in front of
him is Italy, holding a child by the hand (destroyed) , and another in
her arms; on the left is the emperor with his lictors, proclaiming his
edict from the rostra. In the background are a Triumphal Arch (which
cannot, however, be more particularly identified), the Curia Julia (with
five Corinthian columns instead of six), a street, the Basilica Emilia, a
sacred fig-tree, and the statue of Marsyas (which stood at the lower end
of the Forum, near the Temple of Castor). All these were in or near the
N. part of the Forum. — The Second Relief represents the remission
of arrears of taxes, the records of which are being set on fire in Trajan's
presence. In the background are the buildings on the W. and S. sides of
the Forum : the Temple of Concordia (with six Corinthian columns), an
arch (perhaps of the Tabularium), the Temple of Saturn (with eight Ionic
columns), and the Basilica Julia, the Marsyas, and the fig-tree. On the
inner (originally outer) side of each balustrade are a boar, a ram, and
a bull, the victims sacrificed at the public celebrations of the Snove-
taurilia. In the course of these purificatory ceremonies (lustrationes) the
three victims were led around the building that was to be purified.

Near the Anaglypha a flight of wooden steps descends to a group
of the oldest monuments excavated in 1899, which lie about 3^2 ft-
below the level of the Forum of the imperial period. Besides two
pedestals which, from references in ancient authors, are conjectured
to have borne two recumbent lions , we see the stump of a circular
column of yellowish tufa, and behind it a quadrangular stele covered
on all sides with fragments of inscriptions in the earliest form of
Latin. This last dates perhaps from the 6th cent. B.C. Among the
Romans of Cicero's time, to most of whom the inscription was

Arch of Sept. Pevenm. Kt«ttK. -TIL Southern Quarters. 257

already incomprehensible, these monuments were supposed to mark
the 'Tomb of Romulus' or that of his foster-father, the shepherd
Faustulus. When the Forum was reconstructed under Caesar and
Augustus, they were covered with rubbish and partly destroyed.
The pavement of black marble ('lapis niger'), which covers them,
appears to have been laid in the later imperial period to comme-
morate them. — Beyond the 'Grave of Romulus' rises the —

Triumphal Arch of Septimius Severus, 75 ft. in height, 82 ft.
in breadth. It was erected in honour of the emperor and his sons
Caracalla and Geta in A.D. 203, to commemorate their victories over
the Parthians, Arabians, and Adiabeni, and was surmounted by a
bronze chariot with six horses, on which stood Severus, crowned by
Victory. The letters of the inscription were inlaid with metal, as
was usual in such cases. Caracalla afterwards erased the name of
his brother Geta, whom he had murdered. The gap thus made was
filled by the addition of the words 'Father of his country, the best
and bravest princes', to the titles of Caracalla and his father.

In the spandrels of the main arch are figures of Victory and of the
seasons; in the spandrels of the side arches are the river-gods of the
conquered countries. Over the side arches are crowded scenes from the
wars of the emperor. Side next the Capitol: (r.) Siege and capture
of Babylon; (1.) Crossing of the Euphrates and Tigris, Conquest of
Ctesiphon and Seleucia. Side next the Forum : (1.) Raising of the siege
of Uisibis in the Parthian war; (r.) Treaty with Armenia, Siege of Atra.
On the pedestals of the columns, Captive barbarians. All these figures
are in the degraded style of the sculpture of that period. — In the middle
ages the arch was temporarily converted by the ruling powers into a kind
of castle, and was deeply imbedded in rubbish, but it was unearthed
by Pius VII. in 1803. At present it is under restoration.

The Arch of Severus was originally accessible by means of steps
only, and for triumphal processions and on similar occasions a car-
riage-way through the central span had to he made by means of
planks or by heaping up earth. In the 4th cent, the surface of the
Forum seems to have been considerably lowered and the steps lead-
ing to the arch were doubled, while the travertine blocks exposed
by the removal of the soil were covered with marble, of which the
rest of the structure is built. The extent to which the level of the
Forum was lowered appears to be indicated by the brick pedestal in
front of the right side-arch. Upon this has recently been placed the
marble base (found here in 1547) of an Equestrian Statue of the
Emperor Constantius (353 A.D.).

The triangular space in front of the church of Sant' Adriano
(see below) is the last relic of the ancient Comitium (p. 250). Here
are seen a large, shallow, circular fountain-basin and a large marble
base, erected, according to the inscription, by Maxentius (ca. 308
A.D.) to Mars, Romulus, and Remus. Below the level of the pave-
ment of the imperial period remains have been discovered of old
buildings of tufa, which have not yet been identilied.

The lofty brick building with an unadorned facade on the margin

Bakdekek. Central Italy. 14th Edition. 17

258 HI. Southern Quarters. ROME. ft. Tft'e Forum Romanum :

of the excavations here was the Curia, or meeting -place of the
Roman Senate, which was built by Caesar (Curia Julia) and restored
about 301 A.D. by Diocletian. About 625 A.D. Pope Honorius I.
converted it into the church of the martyr Hadrian (SanV Adriano),
but retained the brick facade of Diocletian's building. The tombs
hollowed out in the brick wall date from the middle ages; they, like
the different layers in the walling-up of the ancient entrance, show
the gradual raising of the level of the ground between the 7th and
17th centuries. — Besides the large council-chamber, the senate-
house contained various smaller rooms, chapels, colonnadedcourts, and
the like. The church of Santi Martina e Luca, mentioned on p. 272,
is built into the Secretarium Senatus, or hall for secret meetings.

To the right of the Curia lies the imposing but sadly dilapidated
Basilica JEmilia, the front of which occupied the whole of the N.
side of the Forum as far as the Temple of Faustina. It was originally
built in 179 B.C. by the Censors M. ^Emilius Lepidus and M. Fnl-
-vius Nobilior, and was frequently restored by members of the Gens
./Emilia down to the times of Augustus and Tiberius. This building
of the early imperial epoch showed on the side towards the Forum
a two-storied colonnade, with arches and Doric architrave. The
remains of a pillar still occupy their original position at the S.B.
corner, and adjacent to them are fragments of the architrave with
triglyphs and hucrania. Beyond the colonnade lay a series of quad-
rangular rooms (tabernje), with walls built of large blocks of tufa,
which were used as offices, committee-rooms, and the like. They
were adjoined by the large main hall, 200 it. long and 72 ft. wide,
which has not yet been fully excavated. At the sides of this hall
were galleries supported by unfluted columns of variegated marble
(Affricano). The innumerable fragments of iron and bronze, heads
of nails, and small coins, which are stuck fast in the magnificent
flooring of large marble slabs, furnish a proof that the building was
destroyed by fire, perhaps on the capture of Rome by Alaric the
Visigoth in 410 A.D. Subsequently the colonnade towards the
Forum was hastily and tastelessly restored, the white marble pillars
being replaced by smaller columns of red granite on rude cubical
bases. Three of these have been re -erected in modern times.
Finally, in the 7th or 8th cent., a fortress-like house of large grey
blocks of tufa was added to the ancient structure. Its flooring consists
of a mosaic of small tessera? of marble , porphyry, and serpentine.
This building also seems to have been deserted and gradually
covered up with rubbish after the year 1000.

A round marble basis in front of the Basilica ^Emilia marks the
site of the small sanctuary (Sacellum) of the Venus Cloacina, which
stood near the point where the Cloaca Maxima entered the Forum.
This large drain was , according to tradition , constructed by the
Tarquins to carry off the water of the marshy valley in -which the
Forum lay (see p. 250), and was renewed by Augustus and Agrippa.

Temple of Casar. "KtfME. 111. Southern Quarters. 259

The open area of the Forum proper, which was paved with slabs
of white limestone and measured about 400 ft. in length by 166 ft.
in width, was used for popular assemblies and so forth. Most of it
is now covered with columns, bits of the architrave, and other
architectural fragments of the Basilica ^Emilia and other buildings.
Below the pavement a network of narrow vaulted passages about
6 ft. high was discovered in 1901, but the use of these has not yet
been explained.

A large basement in rubble-work, about 3 ft. below the pave-
ment, near the centre of the area, is supposed (without sufficient
reason) to have supported the colossal equestrian statue of Domitian.

On the E. side of the Forum, and facing the Capitol, is situated
the Temple of Caesar, of which nothing remains but the concrete
core of the substructures. Caesar had erected here a new orator-
ical tribune, and it was from this place, at the funeral of the
murdered dictator on 19th or 20th March, B.C. 44, that Mark An-
tony pronounced the celebrated oration which wrought so power-
fully on the passions of the excited populace. A funeral pyre
was improvised, and the illustrious deceased was accorded the
unparalleled honour of being burned in view of the most sacred
shrines of the city. His ashes were interred in the family tomb of
the Gens Julia in the Campus Martius, while a column with the
inscription 'parenti patriae' was erected here to commemorate the
event. Augustus afterwards erected a temple in honour of 'Divus
Julius', his deified uncle and adoptive father, and dedicated it to
him on 18th Aug. B.C. 29, two years after the battle of Actium.
At the same time he adorned the tribune with the prows of the
captured Egyptian vessels.

The temple was of the Ionic order, with six columns in front. In
front of the temple there are the remains of a platform , still partly
paved with slabs of stone , which is believed to have been the above-
mentioned tribune or Rostra ad Divi Julii. In the front wall of the Rostra
is a semicircular recess, which was liastily walled up at a late period « ith
grey tufa. Within this recess, at the close of 1898, were discovered the
foundations of a round altar or large pedestal, which in all probability
was placed here to commemorate the great Dictator.

Separated from the temple of Caesar by the Sacra Via, which
was spanned by a Triumphal Arch of Augustus, with three gate-
ways, was the —

"Temple of Castor and Pollux, generally called the Temple of
Castor (Mdes Castoris or Castorum) , which was dedicated to the
twin gods out of gratitude for the aid which enabled the Romans to
defeat the Latins at the battle of Lake Regillus in B.C. 496. Accord-
ing to the story the Dioscuri appeared in person at the Lacus
Juturnae (p. 260), where they watered their horses, to announce
the victory. Twelve years later, in B.C. 484, the temple was con-
secrated. The remains consist of the basement and a piece of the
8tylobate on the E. side, with three splendid columns of Parian

17*

260 III. Southern Quarters. ROME. F7~TKe Forum Romanum :

marble. These columns (height 4?l/2 ft., diameter 5 ft.) probably
date from a restoration of the temple in the reign of Trajan or of
Hadrian. The temple had eight columns in front and probably thir-
teen on each side.

To the left of the temple of Castor lies the sacred District of
Juturna, the nymph of the health-giving springs •which here bubble
up at the foot of the Palatine. We first notice the Lacus Juturnse
a quadrangular water-basin with a pillar in the middle upon which
stood a marble altar with figures in relief of Jupiter, Leda with the
Swan, the Dioscuri, and Juturna holding a large torch. Beside
and beyond the basin are various rooms and chambers which pro-
bably served for religious uses, and were adorned with numerous
statues of the gods connected with healing. Among others were
^sculapius with an acolyte holding a cock ; the Dioscuri with their
horses, archaic works, probably from S. Italy (5th cent. B.C.);
the head of Serapis; headless archaic statue of Apollo. In the
4th cent. A.D. these chambers were handed over to the municipal
water board (statio aquarum). — Farther on is a small chapel
(AUdicula) for an image of Juturna, whose name is still preserved
on the architrave. In front of this is a fine Puteal of white marble,
restored, according to the inscription, by M. Barbatius Pollio , a
curule edile (probably in the reign of Augustus).

The back of the ^Edicula adjoins a rectangular room in good
brick-work (entr. on the "W. side), which in the Christian period
was converted into an Oratory of the Forty Martyrs; on its walls
are remains of frescoes of the 8-9th centuries.

In front of us opens the approach to the basilica of *Sancta
Maria Autiqua , which was erected in the 7th cent, and incor-
porates the remains of an ancient monumental building, probably
the library connected with the temple of Augustus (Bibliotheca
Templi DM Augusti). The large and square uncovered court he-
came the narthex of the church ; the central chamber of the library,
an atrium with pillars and columns, was converted into the nave
and aisles; while three other rooms beyond became the choir (pres-
bytery) and side-chapels.

The Couet contains a large and deep liasin (impluvium), which be-
longed to an older building (perhaps the Palace of Caligula), destroyed
in the course of a restoration of the library in the reign of Domitian. —
The aisles, choir, and chapels of the basilica are richly adorned with
*Frescoes,_ executed by Byzantine artists of the 7-8th cent., who were pro-
bably denizens of the convent belonging to the basilica, which was granted
to Greek monks who had fled from the E. Eoman Empire at the time of
the iconoclastic riots. On the side-wall of the left aisle is a figure of
Christ enthroned, with eleven Latin saints on his right and nine Greek
saints on his left ; above are scenes from the story of Joseph and other
Old Testament subjects. The best-preserved paintings are in the chapel
at the end of the left aisle. Below a representation of the Crucifixion
appears the Madonna enthroned, accompanied by St. Peter, St. Paul, St.
Quiricus, and his mother St. Julitta. On the left is Pope Zacharias (741-752))
in whose pontificate tbe chapel was decorated by a high official named

Regia. R0T1E. III. Southirn Quarters. 261

Theodotus, who is represented on the right, holding a model of the church.
On the side-walls are the martyrdom of SS. Quiricus and Julitta and
other subjects. — ■ The frescoes in the choir are in poor preservation.
Three layers are generally discernible, one above the other. The earliest
(Virgin enthroned, to the right of the apse) dates perhaps from the com-
mencement of the 7th cent. ; the Fathers of the Church with long Greek
banderolles (to the left of the apse, below) are of the time of Martius I,
(649-54); thirdly, the similar figures of Church Falhers, above the Madonna,
may be assigned to the time of John VII. (see below); and finally, the
figure of Christ enthroned, surrounded by seraphim, saints, and Fathers
of the Church, in the apse, date from the time of Pope Paul I. (757-67). In
the lunette above the apse is Christ on the Cross adored by angels and
saints in white robes; below are long Greek inscriptions on a red ground
(Messianic prophecies from the Old Testament). The screens of the pres-
bytery bear figures of David and Goliath, the tick king Hezekiah, and the
prophet Isaiah. The pulpit (ambo), which once stood here, is now re-
presented merely by anoctagonal marble slab inscribed 'Johannes servos
s(an)c(t)ae Mariae' (i.e. Pope John VII., 705-707). — . Beneath the flooring of
the basilica were found numerous Christian graves, and also several fine
sarcophagi, one decorated with scenes from the story of Jonah.

From the court, to which we now return, a door on the right
(E.) side admits to a corridor that ascended in four windings to
the Palace of Tiberius upon the Palatine (p. 277). We, however,
pass through a low archway to the left and enter a massive brick
structure. This is the cella of the Temple of Augustus (Templum
Divi Augusti), which was built by Tiberius and sumptuously
restored by Domitian after the Neronic conflagration. Its front faced
the Vicvs Tuscus, a busy street which led from the Temple of
Castor to the Forum Boarium (p. 283) on the Tiber; the niches
were filled with colossal statues of Augustus and other deified
emperors.

We now return to the Lacus Juturnse, turn to the right, and
continue to follow the Sacra Via. Immediately to the right a cir-
cular concrete erection surrounded with blocks of tufa marks the
site of the celebrated Temple of Vesta (^Edes Vestse), in which the
sacred fire was kept alight by the Vestal Virgins. Numerous frag-
ments of its marble entablature, columns, and cassetted roof strew
the ground. The workmanship of these is somewhat careless, dating
apparently from the restoration of the temple after a fire at the be-
ginning of the 3rd century of our era. — Opposite the Temple of
Vesta, on the other side of the Sacra Via, are some fragmentary
marble walls, belonging to the Regia, which was not completely
exhumed until 1899.

The Regia, traditionally at first the dwelling of King Numa
Pompilius, the founder of the national religion, afterwards became
the official residence of the Pontifex Maximus. As such it contained
the sacred chambers (sacraria) of Mars and the ancient goddess
Ops, in which the sacred spears of the god, the sacrificial implements
of the priests, and the archives of the Pontirices were preserved.
When the Pontifex Cn. Domitius Gal villus rebuilt the Regia of
marble after the fire of B.C. 36, he caused a list of consuls and

262 III. Southern Quarters. ROME. T>. "The Forum Romanum:

triumphs to be inscribed on the marble blocks of the S. and W.
walls; these are the so-called Fasti Consulares (p. 243). — The
beautiful fragments of entablatures and capitals which lie in a heap
between the Temples of Castor and Vesta belonged to this marble
structure of Cahinus. The rude pieces of a cornice lying on the S.
side of the building, where the wall with the Fasti stood, date from
a restoration under Septimius Severus. Of the tufa building of
the republican Regia, which extended farther towards the E., there
remain a round basement about 6 ft. in diameter (top course modern),
groundlessly named the Sacrarium Martis, and a room with a medi-
aeval cistern called, also without ground, the Sacrarium of Ops.

Beyond the temple of Vesta (to the left) is a small &dicula, or
shrine for the image of a god, erected according to the inscription
by the Senate and People of Rome. This was restored (not very
successfully) In 1898 ; the clumsy brick pillar on the right should
have been replaced by a column.

Adjoining the ^Edicula are a few steps and a side-entrance leading
to the *Atrium Vestae, or Palace of the Vestal Virgins. The extant
ruins are carefully constructed of brickwork, which has almost en-
tirely lost its marble facing. They date from the 1st and 2nd cent,
of our era. The whole building falls into three divisions: a rect-
angular colonnaded court, corresponding to the Atrium in private
houses; the official rooms (?) of the Vestals, grouped round a lofty
square apartment, resembling the ordinary Tablinum; and the
kitchen and offices to the right (W.), behind the Atrium. The
dwelling-rooms were situated on the upper floor.

The Court is the most extensive part of the building. It was surrounded
by a two-storied arcade, with columns of veined green cipollino marble below
and red breccia corallina above, and adorned with statues of Head Vestals
( Virgines Vestales Maximae), of which eleven are still preserved in whole or
in part (see p. 169). The interveniion of the Vestal Virgins was often very
effective in procuring appointments to official and even military posts, and
the inscriptions on the bases of some of the statues show that they were
erected by grateful relatives and other recipients of such favours. The
names (Numisia Maximilla, Terenlia Flavola, Flavia Publicia, Coelia Clau-
diana, Terentia Eulilla) belong to the 3rd and 4th cent. (201-364 A. D.). In
the centre of the court are three marble-lined cisterns for the reception of
rain-water, as a venerable precept of their cult forbade the priestesses to
use either river-water or water conveyed through artificial channels.

The second division of the palace consists of the Official Kooms (?).
In the middle is a lofty square room approached by steps. On each side
of it are three doors giving access to three cells, each of which is supposed
to have belonged to one of the six priestesses. — The beautiful mosaic
marble flooring is still preserved in two rooms of the S. wing, below the
Nova Via and the Palatine. A mill of later d;ite has been erected within
the last rooms in the S.E. corner. In the W. wing are the Domestic
Offices, including a kitchen with its fire-place, a store-room with num-
erous broken bits of pottery, a large leaden water-tank, etc.

The Upper Floor (the keeper of the Forum has the key) comprized
several apartments, including bath-rooms, some of which have been pre-
served. A wooden staircase ascends from one of the apartments on the
S. side. The upper story commands a good survey of the whole building
as well as a view towards the Basilica of Constantine.

Temple of Faustina. KOME. III. Southern Quarters. 263

Farther on in the Sacra Via, opposite the temple of Vesta and
the Regia, on a base 16 ft. above the street and formerly reached
by a flight of steps, is the —

♦Temple of Faustina, of which the portico, with its ten beautiful
columns of Eubosan marble (cipollino), and part of the cella, de-
corated on the W. side with a marble frieze (griffins and cande-
labra), are still standing. It was dedicated by Antoninus in A.D.
141 to his wife, the elder Faustina, and re-dedicated to that emperor
also after his death. The first line of the inscription, Divo An-
tonino et | divae Faustinae ex S.C., was then added. In the interior
of the temple is the church of San Lorenzo in Miranda (PI. II, 19).

The year of the foundation of the church is unknown , and the
earliest record of it dates from the 12th century. The facade was
erected in 1602. Its name probably refers to that of its foundress, some
rich Koman lady named Miranda (comp. San Lorenzo in Damaso and San
Lorenzo in Lucina). The entrance is at present in the Via in Miranda, on
the S.E. side.

In 1902 a very ancient Necropolis was discovered at the B.

angle of the temple, lying at a great depth below the surface, and

including both ordinary graves and recesses for cinerary urns.

Some of the urns found here, including one in the shape of a hut,

like those from the neighbourhood of Albano (p. 361), may possibly,

date hack to the 8th cent. B.C., while the latest cannot be more

recent than the 6th cent., for burial on this site must naturally

have ceased when the Forum became the market-place. The objects

found in this necropolis are exhibited in the Forum Museum (p. 266).

A hill, named the Velia in ancient times, connects the Palatine
and Esquiline, its highest point being marked by the Arch of Titus
(95 ft.; p. 265). The Sacra Via gradually ascends the Velia towards
the S.E., and soon reaches —

Santi Cosma e Damiano (PI. II, 19; entrance in the Via in
Miranda), built by Felix IV. (526-30), having been incorporated
with an ancient circular temple erected by the Emp. Maxentius to
his son Romulus, and sometimes erroneously called a temple of the
Penates. On account of the dampness of the soil Urban VIII. raised
the level of the pavement so much in 1633 , that an upper and a
lower church were formed.

The Lower Church retains its old bronze doors with their antique lock.

Upper Church. On the arch of the choir and in the tribune are ~Mo-
taics of the 6th cent., the period of the founder, perhaps the most beautiful
of their kind at Rome (see p. lxi) , but. freely restored about 1660 (best
light in the afternoon). Those on the arch, which has been shortened
during a restoration, represent the Lamb with the Book with seven seals
according to Revelation v. ; adjoining these the seven candlesticks , four
angels, and two of the symbols (angel and eagle) of the Evangelists. The
arms with wreaths, below, belonged to two prophets. In the tribune:
Christ, to whom the saints Cosmas and Damianus are conducted by Peter
and Paul ; on the left side St. Felix (modern) with the church, on the right
St. Theodoras. Beneath , Christ a3 the Lamb , towards whom the twelve
lambs (Apostles) turn.

264 I II. Southern Quarters. ROME. b. The Forum. Romanum :

At the back of the church were found the remains of an ancient
plan of Rome (see p. 241). The ancient wall to which the plan was affixed
belonged to a building which adjoined the Forum Pacis, and is supposed
to have been erected by Vespasian and restored by Septimius Severus as
a repository for the archives of the censor, municipal plans, registration
lists, etc. It is usually named Templvm Sacrae Urbis.

"We next reach, on the left, the three colossal arches of the
*Basilica of Constantine (PL II, 19, 22), erected by Maxentius, hut
afterwards altered by his conqueror Constantine, whose name it
hears. The entrance originally faced the Colosseum, but afterwards
the Sacra Via. It was a basilica of three halls, with vaulting of vast
span, which has served as a model to modern architects, as in the
case of St. Peter's, where the nave-vaulting is of the same width.
The ground-plan is rectangular in form, over 100yds. long and
87 yds. wide. The principal apse, opposite the entrance from the
Colosseum, has lately been extricated from rubbish, hut is onlypartly
preserved. After the opening of the second entrance on the side
next the Palatine, a second apse was added. The barrel vaulting of
the S. aisle has been preserved; width 67 ft., depth 57 ft., height
80 ft. The span of the nave was about 82 ft., its height 114 ft., and
its width 66 ft. In front of the central pillars stood eight huge Corinth-
ian columns of white marble; the only one now existing stands in
front of Santa Maria Maggiore (p. 180). The original apse at the W.
end may possibly have contained the colossal statue of Constantine
to which the head mentioned at p. 239 belonged. The entrance
facing the Sacra Via was formerly adorned with columns of red
porphyry, some of the shafts of which have been re-erected. The
gilded bronze tiles were removed to St. Peter's by Pope Honorius I.
about 626.

Between the Basilica of Constantine and the Palatine some re-
mains of Private Houses have recently been discovered on the Sacra
Via. This street was one of the most elegant in Rome and contained
many shops of goldsmiths, bronze-workers, and the like. The walls
which have been laid bare date from various periods, both before
and after the time of Hadrian; their details are still somewhat
doubtful.

Adjoining the basilica of Constantine, and partly occupying the
site of the temple of Venus and Roma (p. 265), is the church of —

Santa Francesca Romana (PI. II, 22), originally named Sancta
Maria Nova. The church, which was restored in 1216 by Hono-
rius III. after a fire and at several other periods, contains the tomb
of Francesca de1 Ponziani (d. 1440), foundress of an order of Oblate
nuns, who was canonised in 1608 and has given the church its
present name. The facade is by Carlo Maderna (1612).

Interior. In the vestibule, with a side-entrance between the 1st and
2nd chapels on the right: (r.) Monument of Card. Vulcani (d. 1334) and (1.)
that of the papal commandant and general Antonio Rido (d. 1457). 2nd

Arch of Tiiw idBim. 1 J 1. /Southern Quarters. 265

Chapel : Miracles of St. Benedict, altar-piece by Subleyras. In the Tribune
mosaics of the 12th cent, (restored in 1891): in the centre Madonna, (1.) SS.
John and James, (r.) SS. Peter and Andrew. Over the high-altar an ancient
Madonna, traditionally attributed to St. Luke, which is said alone to have
escaped destruction in the conflagration. To the right of the apse : monument
of Gregory XI. (d. 1378), who transferred the papal residence from Avignon
to Eome, with a relief by Olivieri (1585). Here on the right, built into the
wall, are two stones on which SS. Peter and Paul are said to have knelt when
they prayed for the punishment of Simon Magus. In the Confessio a group of
Santa Francesca with an angel, by Meli. In the crypt (stairs in left transept)
is the tomb of the saint with a marble relief by Bernini.

In the adjoining Convent, with its tasteful cloisters of the time
of Alexander VI., a Museum is being fitted up for the reception of
the antiquities found in the Forum. The groundfioor is to be de-
voted to architectural fragments and sculptures, while other objects
will be exhibited on the upper floor.

On the summit of the Velia (p. 263), at the foot of the Palatine,
rises the Triumphal Arch of Titus, commemorating the defeat of
the Jews (A.D. 70), and dedicated to him under his successor Do-
mitian in 81, as the inscription on the side next the Colosseum
records : Senatus populusque Romanus divo Tito divi Vespasiani filio
Vespasiano Augusto . The single arch is embellished with fine reliefs
(p. liv). On the outside, below the inscription, is a sacrificial pro-
cession on the frieze. Inside: Titus crowned by Victory in a quadriga
driven by Koma; opposite, the triumphal procession with the cap-
tive Jews, table with the show-bread, and candlestick with seven
branches. In the centre of the vaulting, the consecrated emperor
borne to heaven by an eagle.

In the middle ages the arch was used as a fortress by the Frangipani,
and strengthened with battlements and new walls. When these were re-
moved in 1822, the arch lost its support, and had to be reconstructed, as
stated by the inscription on the other side. The central part, in marble,
is therefore alone ancient ; the restored parts are of travertine.

The Via San Bonaventura (PI. II, 19) ascends to the S. from the
Arch of Titus, passing the church of San Sebastiano alia Polveriera,
on the site of a temple of Apollo built by Augustus (fine view of
the Colosseum from the adjoining vigna), and leads to the monastery
(partly pulled down in 1902) of San Bonaventura, the garden of
which, open to gentlemen, contains a fine palm and commands a
beautiful view.

From the Arch of Titus the Via Sacra descends to the Colos-
seum, passing the remains of private houses, sometimes ground-
lessly named 'Thermae of Maxentius' (which never existed). On
the left is the double apse of the Temple of Venus and Roma (PI.
II, 22), erected by Hadrian from a plan by himself inA.D. 135, and
restored after a fire by Maxentius in 307. This was one of the most
magnificent temples in Rome.

There were evidently two temples under the same roof, entered from
the sides next the Colosseum and next the Capitol. The apses were back
to hack so that there was a niche on each side of the dividing wall for
the image of a god. The apse towards the Colosseum is open. The temple
was peripteral, with ten columns at the ends, and twenty at the sides

266 III. Southern Quarters^ ROME. ft. The Colosseum.

(length 120 yds.). It was surrounded by a colonnade of about 150 columns,
180 yds. long, and 110 yds. wide, projecting as far as the street, where it
was supported by massive substructures. To this colonnade belonged the
granite shafts scattered about here. The cellse were encrusted with the
rarest marbles.

Descending hence towards the Colosseum, we reach the so-
called Meta Sudani, the partly restored brick core of a magnificent
fountain erected here by Domitian. To the right we see the Arch
of Constantine (p. 270). To the left (N.) we observe the remains
of an extensive square Basis of masonry. Here from the reign of
Hadrian stood the gilded bronze Colossal Statue of Nero, as god of
the sun, crowned with rays, and about 118 ft. in height, executed
by Zenodorus by order of the emperor himself, to grace the 'Golden
House' which he erected with lavish splendour after the burning of
Home in A.D. 64. The palace fell to decay soon after Nero's death
in 68 (p. xxxii). In the space occupied by an artificial lake in the
gardens of Nero, Vespasian founded the —

** Colosseum (PI. II, 22) , originally called the Amphitheatrum
Flavium, the largest theatre, and one of the most imposing struc-
tures in the world, completed by Titus in A.D. 80. It was in-
augurated by gladiatorial combats , continued during 100 days, in
which 5000 wild animals were killed, and naval contests were ex-
hibited. It was struck by lightning under Macrinus (217), and the
resulting fire burned for three days, necessitating restorations that
were not completed until the reign of Alexander Severus. In 248
the Emp. Philip here celebrated the 1000th anniversary of the
foundation of Rome with magnificent games. In 405 gladiatorial
combats were abolished by Honorius as inconsistent with the pre-
cepts of Christianity, which had prevailed since Constantine, but
wild-beast fights were continued till after the time of Theodoric the
Great. In 442 the Colosseum was damaged by a great earthquake
and it seems to have been restored in 445 by Theodosius II. and
Valentinian III. The building has been known since the 8th cent,
under its present name, derived probably from the colossal statue
of Nero.

The Colosseum must have been reduced to approximately its pre'ent
limits letween the 8th and the 14th cent.. probably by convulsions of na-
ture, sutli as the earthquakes of 1231 and 1255. The exterior colonnades
were in ;is ruinous a condition about 133) as they are now, as is proved
by the arms of the Hospital Sancta Sanctorum (t e head of Christ bet, een
candelah a) which appear ahove the arches in the oiijdnally third inner
wall. The N.W. quarter alone, which was used by the Roman barons,
especially the Frangipani, as a fortress, is in better preservation. In 1312
the Annibaldi were obliged to surrender it to Emp. Henry VII., who pre-
sented it to the Roman senate and people. During the 15th, 16th, and 17th
cent, the stupendous pile afforded building materials for many n w churches
;>nd palace^, although probably only the portions already lying in ruins on
the g ound were removed for this purpose. In the 15th cent. Paul II. here
procured materials for the construction of the Pal. di Venezia, and Card.
Riario for the Cancelleria, in the 16th cent. Paul III. for the Palazzo Far-
nese, and in 17i>o Clement XI. for the Harbour of the Ripetta. Bene-
dict XIV. (1740-58) was the first to protect the edifice from farther demol-

b. The Colosseum. ROME ///. Southern Quarters, ab i

268 ///. Southern Quarters. ROME. b. The Colosseum.

ition by consecrating the interior to the Passion of Christ, referring to the
frequency with which the blood of martyrs had flowed there. Pius VII.,
Leo XII., and Gregory XVI. averted the imminent danger of the fall of
the ruins by the erection of huge buttresses ; but as new fissures began to
make their appearance, a vaulted hall in two stories was erected in 1852
in the middle of the inner fourth story by Canina, who endeavoured to
follow the traces of the ancient structure. The best view of the building
as a whole is commanded from the top of this hall (comp. p. 269). — The
excavation of the arena with its interesting substructures was begun in
1871. A good view of the best preserved portion of the exterior is ob-
tained on the E. side, where the original level of the ground has been
laid bare (p. 270).

The Colosseum is almost wholly constructed of blocks of trav-
ertine, originally held together by iron cramps; tufa and bricks
have been used only in the interior. The numerous holes were
bored in the middle ages for the purpose of extracting the then
very valuable iron. According to the most trustworthy statistics
the external circumference of the elliptical structure measures
573yds., or nearly one-third of a mile, the long diameter 205
yds., the shorter 170 yds., and the height 157 ft. The still pre-
served N.E. portion, on the side next the Esquiline, consists of
four stories, the three first being formed by arcades, the pillars of
which are adorned with half-columns of the Doric, Ionic, and Corin-
thian order in the 1st, 2nd, and 3rd stories respectively. A wall
with windows between Corinthian pilasters forms the 4th story.
Statues 'were placed in the arcades of the 2nd and 3rd stories, as
appears from representations on ancient coins. At the ends of the
diameters are the four triple Principal Entrances , those next
to the Esquiline and Caelius (on the smaller axis) being destined for
the emperor, the others for the solemn procession before the be-
ginning of the games, and for the introduction of the animals and
machinery. On the side next the Esquiline are seen traces of the
stucco-decorations, which were used as models by Giovanni daTJdine,
the pupil of Raphael. The arcades of the lowest story served as
entrances for the spectators, and were furnished with numbers up to
lxxvi (Nos. xxiii-liv still exist), in order to indicate the staircases
to the different seats.

The Interior had seats for 40-50,000 spectators (the common
estimate of 87,000 is an exaggeration). The tiers of seats are
supported on the outside by two rows of arcades, and on the in-
side partly by a solid substructure. Every fourth arch contains a
staircase; while the tiers of seats are intersected by passages. The
foremost row of seats, called the Podium , was destined for the em-
peror, the senators, and the Vestal Virgins. The emperor occupied a
raised seat, called the Pulvinar, and the others had seats of honour.
Above the Podium rose two other divisions of marble seats, beyond
which was a girdle-wall pierced with doors and windows. This wall
supported a colonnade in which were wooden seats , while the
humbler spectators ('pullati', i.e. those who were without togas)
stood on the roof of the colonnade. Quite at the top of the wall,

b. The Colossewmm^^-— homk. j u.oouthem Quarters. 269

inside, are a series of consoles which originally supported a narrow
gallery, on which were stationed sailors of the imperial fleet for the
purpose of stretching awnings over the spectators to exclude the
glare of sun. Apertures are still seen in the external coping, with
corbels below them, for the support of the masts to which the neces-
sary ropes were attached.

The arena is 93 yds. long by 58 yds. wide. Beneath it and ad-
jacent to the foundations of the inner wall, were chambers and dens
for the wild beasts. More towards the centre were found a number
of walls, pillars, and arches, partly required for the support of the
arena, and partly connected with the apparatus for hoisting up from
below the scenery, properties, etc., required in the combats with beasts
and other performances. The numerous fragments with "very large
letters, on the edge of the arena, belonged to the dedicatory inscrip-
tions set up by Theodosius II. and Valentinian III. in 445 (p. 266).
Although two-thirds of the gigantic structure have disappeared, the
ruins are still stupendously impressive. An architect of last century
estimated the value of the materials still existing at l1^ million
scudi, which according to the present value of money would be equi-
valent to at least half a million pounds sterling. The Colosseum has
ever been a symbol of the greatness of Rome, and gave rise in the
8th cent, to a prophetic saying of the pilgrims : —

'While stands the Colosseum, Rome shall stand,
When falls the Colosseum, Rome shall fall,
And when Rome falls, with it shall fall the World.'
The Upper Stoeies should be visited by those who desire to obtain
a distinct idea of the character of the structure (staircase in the second
arch to the left of the entrance opposite the temple of Venus and Roma;
50 c). Of the three arcades on the first story we follow the innermost,
which affords a survey of the interior. Three arches (closed) at the N.
enl of the shorter axis are now used as stores for inscriptions, including
a series from the edge of the podium, giving the names of the proprietors
of the seat5, among whom figure many illustrious Eomans of the 5th and
6th cent. A.D. In the third of these arches is a model of the Colosseum
(scale 1:60), constructed by Lucangeli (d. 1812), a Roman mechanic. —
Over the entrance next the Palatine a modern staircase of 48 steps ascends
to the 2nd, and then to the left to a projection in the 3rd story. The View
from the hall on the fourth floor mentioned on p. 268, to which 55 more
steps ascend, is still more extensive. It embraces the Cselius with San
Stefano Rotondo and Santi Giovanni e Paolo; farther off, the Aventine with
Santa Balbina, in the background San Paolo Fnori; nearer, to the right,
the Pyramid of Cestius; to the right the Palatine, with the arches of the
Aqua Claudia.

The Colosseum is profoundly impressive by Moonlight, or when
illuminated {e.g., by Bengal lights ; comp. p. 148), which permits the general
mass to produce its effect unimpaired by the ruin of the details. The traveller
should avail himself of a fine moonlight night for the purpose. Visitors
may enter the arena at any hour of the night, but a special permesso
of the Ministry is necessary for access to the tiers of seats.

To tie N. of the Colosseum the Via dei Serpenti leads to San
Pietro in Vincoli (pp. 189, 188). To the S.W., between the Calms
and Palatine, spanning the Via Triumphalis which here joined the
Sacra Via, stands the —

270 III. Southern Q,

X\,\J±1±±^.

* Triumphal Arch, of Constantino (PL II, 22), the best-preserved
structure of the kind in Rome, erected after the victory over Maxen-
tius at Saxa Rubra, near the Ponte Molle (p. 383), in 312, where
Constantine declared himself in favour of Christianity. The inscrip-
tion runs thus : Imp. Caes. Fl. Constantino Maximo pio felici Au-
gusto Senatus Populusque Bomanus, quod instinctu divinitatis mentis
magnitudine cum exercitu suo tarn de tyranno quam de omni ejus
factione uno tempore justis rem publicam ultus est armis arcum trium-
phis insignem dicavit. The arch, which was converted into a castle
in the 10th cent., and afterwards belonged to the Frangipani, was
laid bare in 1804. It has three passages.

The greater part of the ornamentation and the admirable Sculptures
were brought from a building of Tiajan (not, however, as usually sup-
posed, his triumphal arch) which stood at tue entrance to Trajan's Forum,
contrasting strongly with the rude additions of the time of Constantine.
From tue period of Trajan: above, Statues of Captive Dacians in pa-
vonazzetto; seven of these are ancient, but the eighth, and the heads
and hands of the others, are modern (fragment, see p. 245). The large
"Reliefs now inserted to the right and left of the main passage and on
the ends of the attica, originally belonged to a continuous frieze, at least
50 ft. long, which was ruthlessly taken to pieces under Constantine. The
original order of these is as follows : 1 (to the left of the main passage).
Trajan's triumphal entry into Rome; Praetorians fighting with Daciau.s;
2 (left end of attica). Continuation of the battle ; 3 (to the right in the
passage). Prisoners beseeching the emperor for mercy; 4 (right end of
attica). Conquered Dacians, with their huts in the background. To the
same, period also belong the eight Medallions of hunting and sacrificial
scenes, which have been placed with the same disregard to their con-
nection: Start for the hunt (W. side to the left) and Sacrifice to Apollo
(E. side, to the left); Boar-hunt (E. side, to the left) and Sacrifice to Diana
(W. side, to the right); Bear-hunt (W. side, to the right) and Sacrifice to
Silvanus (W. side, to the left); Lion-hunt (E. side, to the right) and Sacri-
fice to Hercules (E. side, to the right). — The eight Reliefs on the sides
of the attica, beside the inscription, have been quite erroneously ascribed
to the age of Trajan; the heads of the emperor in these were arbitrarily
restored with the features of Trajan in the 17th cent., at which period
the most characteristic details were also added. These scenes (sacrifice,
harangues before the people and the soldiers, triumphal entry, etc.) prob-
ably refer to Marcus Aurelius and belong to the same series as the reliefs
in the palace of the Conservatori, mentioned on p. 239.

From the period of Constantine are the Smaller Reliefs inserted below
the medallions, representing the achievements of Constantine in war and
peace, and the Statues of Victories and Captives on the pedestals of the
columns.

On the S.E. side of the Colosseum the original pavement was
laid bare in 1895. This consists of slabs of travertine, bordered at
a distance of about 60 ft. from the building by large boundary-stones
of the same material, in the backs of which are holes, probably for
the insertion of railings or cords to regulate the crowds of spectators
entering by the various doors. Round this open space ran a street
paved with lava. The remains of a brick porticus that are seen to
the E. of the modern street perhaps belonged to the Thermae of
Titus, which, like the Colosseum, were built on part of the site of
Nero's 'Golden House' (p. 266). These baths occupied the slope of
the Oppius, as far as the modern Via dei Serpenti, but are now

c. Fora of the Empmvfs.' KUME. 111. Southern Quarters. 271

completely ruined. They were adjoined by the much larger Thermae
of Trajan, which extended almost to San Pietro in Vincoli and
San Martino ai Monti (p. 188). The remains of the latter, which
were wrongly identified with the Thermae of Titus, were still partly
standing down to 1795. What is now shown as the 'Terme di Tito'
belongs almost wholly to the earlier buildings (perhaps Nero's), which
Trajan incorporated in the foundations of his construction.

The Entrance (PI. II, 25; on Sun. 10 4.30, other days 9-4.S0; from
June 1st to Sept. 20th, 7-12 and 3 till dusk) is in the Via Labicana, to the
left, near the beginning of the street. Visitors should he careful not to
enter these ruins in a heated condition. We first enter the substructure
of a large semicircular Exedra, which formed the centre of the rear-wall
of Trajan's edifice. Farther on are Nero's buildings, which form an
angle of 45° with the axis of the Thermse. Here we first enter a suite of
seven rooms opening off each other; to the left, in front of the central
room, are remains of a fountain. The special purpose of these rooms
cannot be definitely settled. Their chief interest lies in the beautiful
mural paintings (much injured and badly lighted), which served as models
for Giovanni da Udine and Raphael in the decoration of the logge of the
Vatican. A recess is pointed out by the guides (quite erroneously) as the
spot where the Laocoon (p. 355) was found.

c. Fora of the Emperors.

In the plain to the N.E. of the Forum of the Republic lay the
Fora of the Emperors, which were erected not only as monuments
to their founders and ornaments to the city but also for practical
purposes. They were mainly used for judicial proceedings, and
their chief edifice was always a temple. The Forum Julium, the first
of the kind, was begun by Ccesar and completed by Augustus ; the
second was built by Augustus. A third, around the Templum Pacis,
was constructed by Vespasian. Between this forum and the first
two lay the Forum Transitorium, begun by Domitian and completed
by Nerva. The series ended on the N. with the magnificent Forum
of Trajan.

We begin our inspection at the N. corner of the Forum Romanum,
where the Via delf Arco di Settimio Severo (p. 238) , descending
from the Capitol, unites with the Via di Marforio (p. 202).

Here, in the Via di Marforio, lies the small church of San Giu-
seppe dei Faleynami (PI. II, 20), which is built over the Career
Mamertinus, one of the most ancient structures in Rome (entr. below
the outside steps ; light supplied by the sacristan, 20-30 c). This
was perhaps originally a well-house (Lat. Hullianum,~), traditionally
attributed to Servius Tullius, and it was afterwards used as a prison.
A theory has recently been advanced that the building was an ar-
chaic domed tomb (like those of Mycenae).

The building consists of two chambers, one below the other. The
upper is an irregular quadrilateral, which was probably once adjoined by
other similar chambers. An inscription on the front records a restoration
in 22 A.D. (?). The lower chamber, which was originally accessible only
through a hole in the ceiling, is 19 ft. long, 10 ft. wide, and 6Vs ft. high.
The original vaulting was probably conical, formed by the gradual pro-

272 III. Southern Quarters. LtUMK. c. t'ora of the Emperors :

jection of tlie side-walls until they met, but the present roof is a flat arch
of jointed blocks of tufa. In this dungeon perished Jugurtha, Vercinge-
torix, and other conquered enemies. Sallust, in recording the execution
of Catiline's confederates, describes the prison almost exactly as it now
exists. — 'In the prison is a chamber named the Tullianura, about 12 ft.
below the surface of the ground. This is surrounded by walls and covered
by a vaulted stone roof; but its appearance is repulsive and terrible on
account of the neglect, darkness, and smell.'' — It contains a spring, which,
according to the legend, St. Peter, who was imprisoned here under Nero,
miraculously caused to flow in order to baptise his jailors. The building
has therefore been named San Pietro in Gurcere since the 15th century.

A little to the E. the Via Bonella reaches the Forum. At the
end of it, to the right and left, are the churches of Santi Martina
e Luca and Sant' Adriano (p. 258). Santi Martina e Luca (PI. II, 20)
consists of a lower and an upper church, the former of very ancient
origin, and the latter constructed in the 17th cent, by Pietro da
Cortona.

No. 44, Via Bonella, is the Accademia di San Luca (PI. II, 20),
a school of art founded in 1577 and re-organised in 1874. The first
director was Federigo Zuccaro. The picture-gallery of the Academy
is a second-rate collection, but may be visited if time permit. Ad-
mission, see pp. 150, 151.

We ascend the staircase , into the walls of which are built a few
casts from Trajan's Column (disfigured with whitewash). On the first land-
ing is the entrance to the collection of the competitive works of the pupils
(closed ; apply to custodian upstairs) : Kessels, Discus-thrower reposing, in
plaster ; Christ on the Mt. of Olives, drawing by Ludwig Seitz ; reliefs by
Thorvaldsen and Canova ; Ganymede watering the eagle, by Thorvaldsen, and
several casts from the antique.

We ascend another staircase, and enter a small Antechamber, whence
a door to the right leads to the Biblioteca Sakti, containing 15,000 vols.,
chiefly relating to art (adm., see p. 146). In the antechamber we ring at
the entrance to the —

Picture Gallery. I. Saloon. Entrance-wall: 1. Early Flemish School,
Descent from the Cross. 2. Carlo Maralta, Madonna; on the back of
this picture there is an interesting copy , by Marcantonio , of the first
design of Raphael's Transfiguration; 3. Rubens, Venus crowned by the
Graces; 7, 11. Orizzonte, Landscapes; 10. Van Dyck, Madonna. — Next wall:
21, 24. Jos. Vernet, Sea-pieces. — Wall facing the entrance: 36. Mytens,
Admiral Kortenaar (1636); 39. School of P. Veronese, Toilette of Venus;
153. GiuUo Romano, Copy of Raphael's Galatea in the Farnesina (p. 3*0);
43. Ouido Rem, Cupid; 49. Claude Lorrain, Sea-piece; 51. Hayez (d. 1882),
Victorious athlete. — Short wall: 52. J. Vernet, Sea-piece. — The saloon
is adjoined on the riyht by a Room, containing modern works, most of
them painted in competition for academical prizes. Also, 166. After Van
Dyck, Portrait of a child (pastel, a late copy taken from the group of
children of Charles I.). — Another Small Room contains portraits of ar-
tists, including (to the left of the entrance) those of Virginie Lebrun (198)
and Angelica Kauffmann (214).

II. Saloon. 57. Gerard David, Madonna and saints (copy of a picture
by Memling. in the Louvre); 59. School of Titian, Vanilaa ; 61. Copy of Titian,
St. Jerome (original in the Brera); 72. Raphael, St. Luke painting the Ma-
donna (studio-piece); 73. Copy of Titian, Tribute-money (original in Dres-
den); 77. Guercino, Cupid and Venus (fresco); "78. Raphael, Boy as gar-
land-bearer, a relic of a fresco from the Vatican, sawn out of the wall,
and freely retouched (copy of the boy in the fresco of Isaiah in Sant' Ago-
Btino, p. 214); 79. Copy of Titian, Discovery of the guilt of Callisto (original
at Bridgewater House, in London); 81. Spagnoletto, St. Jerome disputing
with the scholars.

Gcogriqili.tastaltT^TagMr iDebee, LcifffljT

F@RiA\ CAESARUM.

1 1 3130

O 10 21> 30 *Q 50 60 70 80 90 100

Forum of Auguvmr KUKTE. III. Southern Quarters. 273

III. Saloon. On the wall to the right : 103. Ouido Cagnacci, Lucretia,
an able work of this master, a painter of no great note belonging to the
school of Guido Reni; 107. Paolo Veronese (?), Susanna; 108. Bom. Pelle-
grini, Hebe; 109. Palma Vecchio (?), Susanna. — End-wall, 116. Ouido Reni,
Bacchus and Ariadne. — Wall to the left: 122. Albani, Madonna; 131. Sasto-
ferrato, Madonna; 133. Guido Reni, Fortuna; 142. G. H. Barlow, Wolsey
receiving the cardinal's hat.

To the N.W. of Santi Martina e Luca and the Academy lay the
Foeum oe CLesab or Forum Julium, the centre of which was oc-
cupied by a Temple of Venus Oenetrix. Some remains of the mas-
sive enclosing wall, of tufa and travertine, may be seen in the court
of No. 29, Via delle Marmorelle.

The Via Bonella, which intersects the Via Alessandrina (p. 274),
leads to the ruins of the Forum of Augustus (PI. II, 20), which
were excavated chiefly in 1888-89.

Augustus had vowed a temple to Mars Ultor (Mars the Avenger) during
the battle of Philippi, and afterwards resolved to combine with its erection
the formation of an extensive forum. The acquisition of the necessary area
was costly; densely populated streets had to be pulled down, and indi-
vidual proprietors placed difficulties in the way of Augustus, who was un-
willing to resort to forcible expropriation. His architect was therefore
compelled to accommodate his plans to an exceedingly irregular site, the
difficulties presented by which were, however, most skilfully evaded chiefly
by the construction of the large exedrse in the sides of the boutiding-wall.
Daring the middle ages the low-lying forum was reduced to a swamp
(whence the name of the district 'Pantano'); Pius V. and Gregory XIII.
caused the level of the ground to be much raised for their new streets.

The back of the Temple of Mars Ultok, dedicated on the 12th
May, 2 B.C., adjoined the E. enclosing wall of the forum. The
three beautiful Corinthian columns of Luna marble and the pier
with the entablature belonged to the colonnade on the right side.
The temple was richly adorned with works of art, and contained the
Roman eagles captured from Crassus by the Parthians at the battle
of Carrhse and restored to Augustus in B.C. 20. Victorious generals
deposited here the insignia of their triumphs ; and the imperial
treasure (aerarium militare) was preserved in the cellars of the lofty
substructure. The massive wall of peperino blocks which enclosed
both the temple and forum is still in good preservation on the E.
side. The large exedra or circular recess in the S. bounding-wall
has several rows of smaller niches, the lowest of which were oc-
cupied by bronze statues of generals who had enjoyed triumphs,
while inscriptions (elogia), placed by the emperor's decree, an-
nounced their deeds. The costly pavement of the now neglected
and dirty forum lies 20 ft. below the present level of the ground.

The Arco dei Pantani ('pantano', swamp), an ancient gateway
of peperino with travertine voussoirs, beside the three columns of
the temple, leads to the Via di Tor de1 Conti, which skirts the E.
side of the massive enclosing wall and runs to the right to the Via
Cavour (p. 188). This street is so named from the fortified Tor de
Conti erected in the pontificate of Innocent III., who was a member
of the Roman family of Conti. The greater part of the tower was

Baedeker ~ ' ~ 18

<s74 III. Southern {JuaflefT. — rWOTHr77- ~e: Forum of Trajan:

pulled down at the beginning of the 17th century. — Before reach-
ing the tower we turn to the right into the Via della Croce Bianca,
which crosses the site of the Forum of Nerva, sometimes called the
Forum Transitorium from having been intersected by an important
street. Here stood a temple of Minerva, the marble of which was
used by Paul V. for the decoration of the Acqua Paola (p. 379), and
a small temple of Janus Quadrifrons. Remains of the external walls
exist in the so-called *Colonnaccey two half-buried Corinthian col-
umns, with entablature projecting over them in the debased Roman
style. The entablature is enriched with reliefs representing Minerva
as patroness of the arts, weaving, etc., and as a companion of the
Muses. This fragment, situated at the intersection of the Via Ales-
sandrina and Via della Croce Bianca, is well calculated to afford an
idea of the former grandeur of the structure.

The busy Via Alessandrina leads hence, crossing the Via Bonella
and the site of the Forum of Augustus (see p. 273), to the Piazza

DEL FoRO TbAJANO (PL II, 20).

The *Forum of Trajan was an aggregation of magnificent ed-
ifices, and is said to have been designed by Apollodorus of Damascus
(111-114). By means of a huge cutting between the Capitol and the
Quirinal, Trajan effected a convenient communication between the
Fora of the ancient city and the Campus Martius (pp. 251, xxxii).
His forum measured about 220 yds. in width, and was of still
greater length ; and it was considered the finest of the many magnifi-
cent constructions in Rome. In 1812-14 the French government
partly excavated the central portion.

Ammianus (16, 10) thus describes it on the occasion of the visit of
the Emp. Constantius in 356: — 'But when he reached the Forum of
Trajan, a work which, we suppose, is entirely unique and which even
the gods cannot help admiring, he stood still as if thunderstruck, permit-
ting his eyes to wander over the gigantic edifices, the description of which
transcends the powers of speech and the like of which can never again
he attempted by mortals/ — According to a legend of the 7th cent., Gregory
the Great, while admiring the ancient splendour of the forum one day,
and saddened by the thought that so just and benignant a monarch as
its founder should he condemned to everlasting perdition, succeeded by
his prayers in obtaining the release of Trajan's soul from purgatory.

The general ground-plan embraced four parts, reckoned from S.
to N. : the Forum proper, the Basilica, the Libraries (with Trajan's
Column in the court), and the Temple. Hitherto only the second
and third , and these but partially , have been excavated. The
forum adjoined that of Augustus; the principal entrance, dignified
by a triumphal arch, lay near the modern Via del Priorato. Part
of the wall of the great hemicycle which bounded it on the E., the
so-called Bagni di Paolo Emilio, may be seen in the court of No. 6,
Via di Campo Carleo (key kept by the custodian of Trajan's Forum);
it consists of two stories, with a tasteful brick facade.

In the excavated part (about 120 by 50 yds.) are seen the
foundations of four rows of columns, belonging to the double-aisled

Trajan's Column: ROME. ///. Southern Quarters. 275

Basilica Vlpia, which lay with its sides towards the ends of the pre-
sent piazza. The central hall was 27 yds., and the whole building
61 yds. in width (these dimensions are about the same as those of
San Paolo Fuori, p. 397). The pavement consisted of slabs of rare
marble. The granite columns which have been erected on the bases
discovered here perhaps belonged to the colonnade running round
the forum. The basilica originally had fluted columns of yellow
marble.

On the N. side of the basilica rises **Trajan's Column, con-
structed entirely of marble , the shaft of which (constructed of
18 monolithic drums averaging 5 ft. in height) is 87 ft. high, and
the whole, including the pedestal and statue, 147 ft.; diameter
11 ft. below, and 10 ft. at the top. The height of the column in-
dicates the depth of earth removed between the Quirinal and Capito-
line in order to make room for the buildings: 'ad declarandum
quantse altitudinis mons et locus tantis operibus sit egestus', as the
inscription, dating from A.D. 114, records. Including the base, the
height is 100 ancient Roman feet (97 Engl. ft.). Around the column
runs a spiral band, 3-4 ft. wide and 660 ft. long, of admirable Reliefs
from Trajan's war with theDacians, comprising, besides animals,
machines, etc., upwards of 2500 human figures, 2-2^2 ft. high at
the foot (comp. p. liv). Beneath this monument Trajan was interred,
and on the summit stood his statue, replaced in 1587 by that of
St. Peter. In the interior a staircase of 184 steps ascends to the
top (for the ascent a permesso from the Ministero dell' Istruzione
Pubblica, p. 219, is necessary). The column was surrounded on
three sides by a two-storied gallery, from which the upper reliefs
could be conveniently viewed. The foundations of this may still be
traced. Adjacent, to the right and left of the column, were a Greek
and a Latin library. More to the N., between the two churches, lay
the temple of Trajan, built by Hadrian as a completion to the work
of his adoptive father.

On the N. side of the piazza are two churches. That on the
right, del Nome di Maria, was erected in 1738. That on the left,
Santa Maria di Loreto, begun by Antonio da Sangallo the Younger
in 1507 (?), has a picturesque octagonal interior and a rich coffered
cupola. The baroque lantern on the crown of the dome was added
in 1580 by Oiov. del Duca. In the choir, over the 2nd door on the
left, is a statue of St. Susanna by Duquesnoy.

d. The Palatine.

The Palatine Hill, situated on the S. side of the Forum, rises
in the form of an irregular quadrangle, about 1960 yds. in circuit.
Like the Oapitoline Hill it consisted originally of two summits of
almost equal height (San Bonaventura to the S., 168 ft. ; Farnese
Gardens to the N., 165 ft.) separated by a saddle; building oper-
ations have, however, materially altered its appearance. Tradition

18*

276 III. Southern yuarter*-. ROME. d. The Palatine:

places on this hill the dwellings of its heroes before the foundation
of the city, Evander and Faustulus; and their memory was preserved
down to a very late period by a number of ancient temples and
shrines. The Palatine was the nucleus and the centre of the mistress
of the world, the site of the Roma Quadrata, various fragments of
whose walls have been brought to light. In the republican period it
was occupied by private dwellings; the orator Hortensius, Catiline,
Cicero, and his bitter enemy the tribune Clodius possessed houses
here. Augustus was born on the Palatine, and after the battle of
Actium he transferred his residence to this seat of the ancient kings.
His buildings cover a considerable portion of the S. hill. They in-
clude besides the palace proper (Domus Augustana) also a large
temple of Apollo and the rich Greek and Latin library. Tiberius
built another palace on the N. side of the hill, perhaps near his
ancestral house (see p. 277). Caligula enlarged the palace by an
addition at the N.E. angle, by whicli the Temple of Castor was con-
verted into a vestibule of the imperial residence ; but his buildings
soon disappeared (comp. p. 277). The Palatine did not afford scope
enough for the senseless extravagance of Nero, who built himself
the Golden House, extending from the Palatine to the Esquiline
(p. 266). The emperors of the Flavian dynasty once more transferred
the imperial residence to the Palatine, enlarging and adorning the
buildings of Augustus. Septimius Severus extended the imperial
abode to the S. beyond the limits of the hill. Part of the Septizonium,
a colonnaded edifice of many stories, erected by him to improve
the view from the Via Appia, which ends here, was still standing in
the 16th cent. , but it was at length removed by Sixtus V. The
Palatium participated in the general decline of the city. It was
inhabited by Odoacer and Theodorio, but from the 10th cent, onwards
the hill was occupied by monasteries, fortified towers, and gardens.

The first excavations took place in the course of the laying out
of the Orti Farnesiani, or Farnese Gardens, in the pontificate of
Paul III. Farnese (1534-50). In 1721-30 the central part of the
Palatine was laid bare. Most of the works of art then found were
carried away from Rome (to Naples and Parma). A systematic ex-
cavation, under the superintendence of the architect Coram. Pietro
Rosa, was begun in 1861, when Napoleon III. bought the Farnese
Gardens, and has been continued by the Italian government, which
acquired the gardens in 1870.

The excavations are open to the public daily (guide desirable; see
pp. 150, 151). The following account of them refers mainly to the best
preserved remains, which may be visited in about 2-3 hrs.; but many other
interesting points may be added. The imposing character of the ruins,
coupled with the beautiful and varied views commanded by the Palatine,
renders them well worthy of repeated visits. — Permission to sketch,
photograph, or take measurements, see p. xxiii.

The Entrance (which may shortly be removed, comp. p. 281)
is in the Via San Teodoro (PI. II, 19, in the Appx.) We ascend to
the left by the Clivus Victoriae, an ancient street skirting the N.

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House of Livia. ROME. III. Southern Quarters. 277

angle of the hill and passing behind the Library of the Temple of
Augustus (p. 260), of which it commands a good bird's-eye view.
Under the emperors, when sites for new buildings in Rome became
scarce, this street was vaulted over with massive brick arches. This
portion of the buildings is wrongly called the Domus Caligulae; it
really dates from the period of the Antonines or of Septimius Severus.
Under one of the arches on the right (PI. y), now closed by a railing,
is a rough graffito upon white stucco, described as a drawing of the
Crucifixion, hut more probably representing rope-dancers. Above are some
erotic Latin verses. This graffito must not he confounded with the better
known Caricature Crucifix (p. 206).

At the top of the street we reach the Casino of the former Far-
nese Gardens. Thence we mount the steps to the right to the remains
of the Palace of Tiberius, the site of which is covered with gardens.
A balcony-like projection on the N. side commands an excellent
view of the Forum and the Basilica of Constantine. From the brow
of the N. spur, where there is now a small grove of evergreen oaks,
the mad Caligula caused a bridge to be thrown over the Forum to
the Capitol, in order to facilitate his intercourse with the Capitoline
Jupiter, whose representative on earth he pretended to be. Farther
on a fine view is obtained of the Capitol, the valley of the Vela-
brum, and the Vicus Tuscus. — The small staircase at the end
descends to the —

House of Livia (Domus Liviae), recognizable by its modern
zinc roof. This house, the only one of the kind in the midst of
the palaces of the emperors, is believed to have been the house of
Tiberius Claudius Nero, the father of Tiberius, to which his mother
Lr also retired after the death of Augustus, to marry whom she
had divorced her first husband. The entrance is at the E. corner.

A flight of six steps descends to the mosaic pavement of the vaulted
Vebtibdldm, whence we enter a quadrangular Couet, originally partly
covered, opening off which are three chambers opposite'the entrance. The
admirable Mural Paintings here will bear comparison with any of the kind
known. The principal pictures in the Centbal Room represent large
windows whence a view of mythological scenes is obtained ; on the right
is Io guarded by Argus, while Mercury approaches to release her; on the
wall opposite the entrance are Polyphemus and Galatea (much damaged).
The admirable perspective in the picture of Galatea is best seen from the
entrance of the Atrium. The two smaller sacrificial scenes in the corners,
above, are painted to imitate ancient easel-pictures, which like the medi-
aeval altar- triptychs could be closed by two folding shutters or wings.
On the left wall are leaden water-pipes (found under the floor) with in-
scriptions from which the ownership of this house has been gathered. The
walls of the Room on the Right are adorned with magnificent garlands
of flowers and fruits, from which masks and other Bacchanalian objects
depend between columns; the walls of the Room on the Left are divided
into brown panels edged with red and green, above which are light arab-
esques between winged figures on a white ground. Adjoining the right side
of the court is the oblong rectangular Teicliniom, or dining-room, re-
cognizable by the modern inscription, with walls painted bright red. The two
large central paintings represent landscapes. On the entrance wall, above,
are two glass vases with fruits. On the wall opposite the entrance visitors
should notice the flange-tiles inserted between the stucco facing and the
external wall *" "™»™ *'■» Pi^tir"?" from damp. The other rooms of

278 III. Southern Quarters. ROME. d. The Palatine:

the house, on the upper floor, were connected with the court by a narrow
staircase (closed). They may be entered from the outside (to the right).

The lofty square substructure on the W. peak of the hill, over-
grown with live oaks, belonged to a Temple of the Magna Mater
(Cybele), founded here in 191 B.C., when in consequence of a sibyl-
line oracle the sacred stone of Cybele was brought from Phrygia to
Rome. Though more than once injured by fire, this temple retained
its highly primitive form throughout the entire imperial period.
Fragments of the shafts, capitals, and bases of peperino columns
once covered with white stucco are scattered about. On the right
side of the temple is a (headless) statue of Cybele, of good Roman
workmanship. — A flight of steps (Scalae Caci?) hewn in the rock
and defended by a wall and gate, descends hence towards the Circus
Maximus (p. 286). Adjoining are the ruins of private houses of
several stories, with baths and mosaic pavements. — Between the
steps and the Temple of the Magna Mater, on the brow of the hill,
remains of very ancient masonry, of uncertain purpose, have been
discovered. A round cistern (discovered in 1897), vaulted over, like
the Career Mamertinus , by the gradual projection of the upper
courses of stones and intersected by later constructions of massive
blocks, is probably the oldest building on the Palatine and one of
the oldest in all Rome.

To the right as we quit the House of Livia is a covered passage
(Cryptoporticus) , with stucco ornamentation (partly incrustated
by the water of a fish-pond or piscina above). This is supposed to
have been the scene of the murder of Caligula by the conspirators in
41 A.D. At the end of the passage, to the right, is the Area Pala-
ttna, the open space in front of the imperial palace, to which a
street, diverging at the Arch of Titus, led up from the Sacra Via.
A mass of foundations here, really of medueval origin, has been
groundlessly identified as the Temple of Jupiter Stator. On the E.
side of this are the remains of a subterranean canal ('?), with an
early Latin inscription.

The Domus Augustiana, or imperial palace, whose N. front was
turned towards the Forum and the Sacra Via , is now frequently
called Domus Flavia, because the greater part of the excavated por-
tion probably dates from a later addition, built by Domitian. Before
the front was an elevated vestibule of cipollino columns, with three
projections resembling balconies, approached by flights of steps at
each end. The accessible remains of the palace belonged entirely to
the reception and state apartments and include no part of the private
rooms, which lie buried beneath the former Villa Mills (see p. 279 and
comp. the plan). The arrangement of the rooms, therefore, shows little
resemblance to that of an ordinary Roman dwelling-house, such as
those of Pompeii, while the size of the apartments is unusually great.

From the vestibule open three spacious rooms. The one in the
middle, known as the Tablinum, was the Aula Itegia, or throne-

Domus Augustiana. ROME. III. Southern Quarters. 279

room, in which the emperor granted audiences. This extensive
hall, 39 yds. by 49 yds. (i.e. 10 yds. wider than the nave of St.
Peter's), with its large semicircular apse which was occupied by the
throne, and its six niches, alternately round and square, contain-
ing the now empty pedestals, was originally entirely covered ; but
an adequate idea of its magnificence can hardly now be formed, as
it has been deprived of its decorated ceiling, while the walls have
lost their marble covering, the niches their columns, and the pe-
destals their colossal figures. Two colossal statues of Hercules and
Bacchus, found here in 1724, are now in the museum at Parma.

The room adjoining the Tablinum on the S.E. was found in 1726
to contain a large altar with steps at the sides, which caused the room
to be named the Lararium, or chapel of the Lares or household gods.
This altar has since been destroyed and the small marble altar at present
to he seen has been brought from elsewhere. On the front of the latter
appears a Roman offering sacrifice with covered head; on the sides are
Lares, wilh boots, a short 'chiton', a 'rhyton' or drinking -hum in the
raised hand, and a 'situla' or pitcher in the other. Behind are the remains
of a staircase ascending to an upper floor.

To theN.W. of the Tablinum lies iheBasilica, where the emperor
administered justice. The semicircular tribune was separated from
the space for litigants by a marble screen, a fragment of which still
stands. This space was flanked on each side by a narrow colonnade.
The unfluted columns were adorned with bronze ornaments, the holes
for fastening which are still visible.

To the S.W. of the Tablinum is the Perislylium, two-thirds of
which only have been excavated (one-third on the S.E. side being
covered by the former Villa Mills), a square garden, 58 yds. wide,
originally surrounded by a colonnade. Its imposing dimensions and
a few traces of its marble covering now alone witness to its ancient
magnificence. The open space in the centre was doubtless occupied
by fountains, trees, and flowers.

At the S.W. corner steps descend to two subterranean chambers con-
taining traces of stucco decorations and painting in the style of the reign
of Augustus. Several adjoining rooms were destroyed in 1721 immediately
after their discovery. These perhaps all belonged to the earlier Domus
Augustiana, over which the palace of Domitian was erected.

Beyond the peristyle, and opening along its entire width, is the
Triclinium, or large dinin^-hall (Jovis Coenatio), whence the diners
could enjoy a view of the fountains and the trees in the peristyle. In
the semicircular apse on the W. wall most of the marble and porphyry
covering of the pavement still exists (poor and irregular, dating from
a late restoration). The remains of the pavement and covering of the
wall on the N.W. side are more scanty. — Adjacent to the latter is
the Nymphaeum, or dining-room for the hot season, containing an
elliptical fountain-basin, covered with partly-preserved marble slabs.

Behind the Triclinium is a Colonnade, with six cipollino columns
(two entire, the others in fragments). A view is obtained, through
the broken pavement, of the original level over which the emperors
built. Farther on are two other rooms, with semicircular terminations

£oU III. Southern quarters. KUinji. a. ±ne Palatine:

and niches in the walls, -which are erroneously termed the Accidentia
and Bibliotheca. Fine view of the valley of the Circus Maximus and
of the Aventine.

To the W. of the imperial palace, between the Nymphseum and
the House of Livia, lies a ruined temple, of which only the sub-
structures and steps remain. This is apparently the Temple of Jupiter
Victor, erected in consequence of a vow made by Fabius Maximus
at the Battle of Sentinum, B.C. 295. The nearly square podium
is approached by 26 steps in Ave flights. A round pedestal with
an inscription , on the fourth landing , was the lower part of a
votive offering of Domitius Oalvinus , who triumphed over Spain
in B.C. 36.

We now follow the path descending amongst shrubs opposite
the front of this temple, and take the first turning to the left, to reach
the ruined palaces on the S.E. side of the hill. To the left are the
remains of the S. facade of the palace of Augustus, including a large
Exedra in the form of a fiat arch. Into this is built the gardener's
house below the former Villa Mills, the beautiful cypresses of which
peep down from above. Beyond the house we pass through an ancient
gateway on the left, and enter the so-called —

Stadium, an oblong space (175 yds. long by 52 yds. wide),
usually regarded as an arena for races and athletic contests, but more
probably a garden. Most of it was excavated in 1881, the remain-
der in 1893. It was originally enclosed merely by lofty walls, and
had a large apse covered with a semi-dome on the S.E. side and a bal-
cony on the N E. side (next the convent of San Bonaventura; p.265).
Subsequently, probably under Septimius Severus, a colonnade of
piers adorned with half-columns was built in front of the walls at
the sides. The N.E. corner is in best preservation. Here we may
note how the brick-faced core of the columns was covered with white
marble at the bases and fluted red marble (porta santa) on the shafts.
At each end of the central space is a large semicircular fountain
basin; a considerable number of fragments of the decorations, cor-
nices, etc., of theE. fountain have been found. The wide channel
of white marble that runs round the entire central space afforded a
convenient water-supply for the garden. At the farther ends of the
colonnades are semicircular recesses, in one of which (that to the
left) is placed a statue of one of the Muses found here in 1893.
Other sculptures found in the Stadium are now in the Museo delle
Terme (p. 171). — Beneath the large apse on the S.E. side (ground-
lessly called 'the imperial box') are three chambers with faded
remains of frescoing. The elliptical structure in the S.W. half dates
perhaps from the time of Theodoric, whose name occurs on brick-
stamps found here.

An opening in the left wall (PI. Z) leads to the central portions of
the Domus Augustiana, which were also restored by Domitian and con-
tained the imperial private apartments. Here is a large square court with
several rooms to the N. of it, one of which has a square, and two others

Paedagogium. ROME. 777. Southern Quarters. 281

octagonal roofs of interesting construction. Of the second story important
fragments remain in the cellars of the Villa Mills (not accessible).

A staircase between the great apse and the N.E. corner of the
Stadium ascends to the level of the upper passage round the Sta-
dium. On a platform here, immediately to the left, are the remains
of several rooms and some large cisterns, which served as cellars in
the demolished part of the convent of San Bonaventura (p. '265).
This point commands a flue view of the Stadium and of the Mons
Cselius and the Alban Hills to the S.E. We next pass the back of
the apse, the lofty proportions and coffered vaulting of which should
be observed , and reach the remains of the Palace of Septimius
Severus. We distinguish rooms with heating-apparatus and baths,
but the general plan is not clear. The floors of concrete, 20 ft. or
more in breadth, supported only at the edges, should be noticed. —
We then cross a paved bridge to a Belvedere supported by three
lower stories, and commanding a magnificent *Vibw.

Towards the N.E. tower the ruins of the Colosseum, nearer are five arches
of the Aqua Claudia (p. 185) , which supplied the Palatine with water.
(Beneath the aqueduct passes a new rosd, on which an additional (S.)
entrance to the Palatine, in the Via dell1 Arco di Costantino, may perhaps
be opened.) More to the right (S.) are the churches of Santi Giovanni e
Paolo, the Lateran, in the foreground San Gregorio, and above it San Stefano
Rotondo and the casino of the Villa Celimontana Still farther to the right
appear the ruins of the Thermse of Caracalla (the two towers beyond, to
the left, belong to the Porta San Sebastiano, beyond which is the Tomb of
Csecilia Metella), and Santa Balbina with its lofty tower; farther off, San
Saba, with its two-storied vestibule, and still more distant the Pyramid
of Cestius, and in the Campagna San Paolo fuori le Mura ; then the Aventine
with its three churches; on the slope the white tombstones of the Jewish
burial-ground; and lastly, to the W. and N.W., the Janiculum and the
dome of St. Peter's.

We Tecross the bridge, turn slightly to the right, and passing
•'he remains of a black and white mosaic pavement, reach after
ibout 100 paces a modern staircase. This we descend to the S.
edge of the hill and thence return under the arches to the entrance
of the Stadium (p. 280). We now descend to the left to a series of
chambers on the S.W. slope of the Palatine, below the verandah of
the former Villa Mills. These perhaps belonged to the —

Peedagogium, or school for the imperial slaves, who, like those of
all the wealthier Romans, received a careful education. A portico of
granite columns, one of which still remains, with a marble entabla-
ture now supported by pillars of brick, stood in front of these apart-
ments. The walls are covered with all kinds of sketches (graffiti,
done with the stilus), drawings, and sentences, the most numerous
and the best-preserved of which are in the small dark room to the
left of the circular recess. The phrase 'exit de paedagogio' r —"-a
frequently and gives the clue to the ancient name of this bu
The caricature of the Crucifixion, mentioned at p. 206, was foun

About 3 min. farther on is a modern house, on the f
which is a bust of Francesco Bianchini (d. 1729), distingui
Ms excavatio"5 <"> fhp Pala+ino Poro in its ancient j

<soJ IIJ. Southern Quarters, humb, a. Velabrum.

stands an altar (Ara) of travertine, with an ancient inscription Qsei
deo sei deivae sacrum' , etc.), 'dedicated to an unknown God', and
probably re-erected in 100 B.C. by the praetor Sextius Oalvinus.
Then to the right, on the W. slope of the hill, is a fragment of an
ancient wall, constructed of blocks of tufa placed alternately length-
wise and endwise, without mortar. This is usually described as
part of the original wall of Roma Quadrata (p. 276), but more prob-
ably dates from some substructions of a later period of the Re-
public. Behind it is a grotto, quite erroneously supposed to be the
Lupercal, reverenced in antiquity as the refuge sought by the she-
wolf when driven from the twins by the shepherds.

Hence we proceed, past the church of San Teodoro, to the exit.

e. Velabrum and Forum Boarium.

The modern Via San Teodoro (PI. II, 19), leading to the S. along
the W. side of the Palatine, approximately follows the line of the
ancient Vicus Tuscus (p. 261), which was the principal artery of
traffic between the Forum and the Tiber. To the left is the low-lying
round church of San Teodoro (PI. II, 19; open on Frid. till 9 a.m. ;
see also p. 145). It is first mentioned in the time of Gregory the
Great, and was erected on the substructures of an antique building.
In the interior is a Christian mosaic of the 7th century.

Farther on the Via di San Giorgio in Velabro diverges to the-
right. Its name recalls the ancient Velabrum, a quarter stretching
between the Vicus Tuscus and the Forum Boarium.

To the right is San Giorgio in Velabro (PL II, 19 ; generally
closed; visitors knock at the adjoining dooT to the left), founded in
the 4th cent., re-erected by Leo II. in 682 and dedicated to SS.
George and Sebastian, and subsequently often restored. The portico,
according to the metrical inscription, dates from one of these restor-
ations. (In the middle ages the word Velabrum was altered to 've-
lum aureum'.) The interior, a basilica with aisles, 16 antique
columns, and an old canopy (p.Lui), is under restoration. The fres-
coes of Giotto (?) in the tribune have been painted over.

Adjacent to the church is the small Arch of the Money Changers
[Arcus Argentariorum ; PL II, 19), which, according to the in-
scription , was erected by the money-changers and merchants of the
Forum Boarium in honour of Septimius Severus and his wife and
sons. The sadly damaged sculptures represent victims and sacrifi-
cial utensils. A portrait of Geta here was defaced by command of
Caracalla (comp. p. 257). — Farther on is the *Janus Quadrifrons
(Arco di Giano ; PI. II, 19), an arched passage with four facades,
of the later imperial age, supposed to have been erected in honour
of Constantine the Great. Above it once rose a second story. —
From this point to the Tiber stretched in antiquity an extensive
pquare known as the Forum Boarium, or cattle-market.

e. Vtlabrum.

ROME. III. Southern Quarters. 283

Proceeding through the low brick archways opposite the Arcus
Argentariorum, and passing a mill, we reach the Cloaca Maxima
(PL II, 16), an ancient channel constructed for the drainage of the
Forum and the adjacent low ground (p. 250), and still discharging
this useful function. A basin was formed here, into which springs were
conducted to produce a current through the Cloaca. In the mill
(20-30 c.) is seen the continuation of the Cloaca towards the Forum,
and from the Ponte Palatino (p. 285) its influx into the Tiber. The
Cloaca is constructed of tufa with occasional layers of travertine, and
at the mouth of peperino entirely.

Following the street beyond the Arch of Janus, and passing the
N.W. end of the Piazza dei Cerchi (Via dei Oerchi, p. 286), we reach
the Piazza Bocca della Verita, which forms part of the Forum
Boarium. In the centre is a baroque fountain erected in 1715 after
Bizzacchert s design (group of Tritons by Moratti). The Via Bocca
della Verita runs hence to the N. to the Piazza Montanara (p. 233). • —
To the left, at the foot of the Aventine, is the church of —

*Santa Maria in Cosmedin (PI. II, 16), sometimes called Bocca
della Verita (p. 284). Founded as early as the '5th cent, and many

times rebuilt and altered, the building was admirably restored in
1894-99 by G. B. Giovenale and is of the highest interest to the
student of Roman mediaeval architecture. The campanile, of the
early 12th cent., is one of the finest in Rome (comp. p. xiii).

284

III. Southern (Juarters. KOAlJU. e. s.MariamCosmedin.

The present basilica, consisting of nave, aisles, a large apse, and two
smaller apses, stands on the foundations of two ancient Roman buildings.
The first of these was a Temple of Hercules (Templwm Herculis Pompeiani)
probably dating from the republican period, some blocks of tufa belonging
to which were discovered under the large apse; the other (shaded black
on the ground-plan) was a hall for the distribution of grain to the Plebs
(Btatio Annonae), dating from the 4th cent. AD. The original basilica
(indicated on the plan by dotted lines) consisted simply of a nave, and
may have been built as early as the 6th cent, in the com-hall which had
by that time fallen out of use. Pope Hadrian I. (772-795) nearly doubled
this building by the addition of two aisles and three new apses (shown
on the plan by diagonal lines), and in doing so tore down the ruinous
Temple of Hercules and used its stone as building material. The affix
'in Cosmedin' to the name of the church, derived from a square in Con-
stantinople, refers to the fact that it belonged to the Greek colony in Rome
(Schola (fraeca); this fact is also the explanation of the galleries for women
(matronaea) above the aisles, and of the niches in the wall of the apse,
for the sacred vessels and books (pastophoria). At the beginning of the
12th cent, the level of the flooring was raised by about 5 ft., the women's
galleries were removed, and the nave and aisles covered with flat
wooden ceilings of which the present are reproductions. The vestibule
and the campanile (p. 283) also received their present form at this time.
These changes were probably due to Cardinal Giovanni Caetani, who was
titular of the church from 1078 to 1118, and afterwards became Pope
Gelasius II. (1118-19). His successor Calixtus II. completed the decoration
of the interior with the aid of his chamberlain Alfanus. The disfiguring
alterations of the 16tti and 18th cent, have been removed.

Vestibule. The colossal antique marble disc with the mask of a
Triton (No. 1 on the plan) probably served originally as the cover of a
man-hole, or horizontal entrance to a drain. It is known as the Bocca
delta VeritH from the popular superstition that the ancients on taking an
oath used to insert their hand in the mouth of the mask, which closed
on the hand of those who perjured themselves. The principal portal,
executed, according to the inscription, by a certain Joannes de Venetia
about the llth cent., exhibits a rude imitation of antique motives; on each
side are long records of donations of the 9th century. To the right is the
tomb of Alfanus (PI. 2; see above). A door (PI. 3), adjoining the mask,
leads to the organ-loft, which contains a small museum of objects found in
the earlier churches (key kept by the sacristan). The noticeable stucco de-
corations on the vaulting of the arches opening upon the nave date from
the 3rd-4th cent. A.D.

Interior. By the entrance-wall are three marble columns from the
Statio Annonse (see above), other specimens of which maybe seen in the wall
of the left aisle and in the sacristy. They stood upon a plinth about 5 ft.
in height. The nave is supported by 20 ancient columns brought from
various buildings; an inscription above the fifth to the left indicates
the extent of the oldest building and of that of Pope Hadrian. In the
clerestory are remains of frescoes, perhaps dating from the 13th century.
The screens enclosing the musieans' choir (schola cantoruro), the ambones
(PI. 4-5), the Easter candlestick (all restored and replaced in their original
sites), the episcopal throne (PI. 7) in the apse, and the beautiful marble
-Pavement (opus Alexandrinum) rank amongst the most beautiful decorative
works of the 12th cent, in Rome. — The high-altar (PI. 6) is formed by an
ancient bath of red granite. The marble mosaic (opus sectile) below it
dates from the 8th century. The ciborium, presented by Cardinal Fran-
cesco Caeta'ii, the nephew of Boniface VIII., is a work of Adeodatus Cos-
mas (ea. 1300). On the wall to the left of the apse are some remains of
frescoes of the llth (?) cent., with Greek graffiti. The frescoes of the apses
and the framework of the blind window behind the bishop's throne are
modern. — The Crypt (two entrances, at PI. 9), below the presbytery, con-
sists of nave and aisles and is entirely hollowed out of the foundation of
the ancient temple; in the side-walls are niches for reliquaries. — In the

e. Casa di hicmi. — mvv/iuj^. x±±. a outherh Quarters. &o5

Sacristy (entrance to the right, in front; PI. 8) is a mosaic on a gold ground,
representing the Adoration of the Magi, a fragment from the Lady Chapel
erected by Pope John VII. in 706, in the old church of St. Peter.

The Viadella Salam (see p. 286) runs hence to the S., towards
the Porta San Paolo.

Opposite, towards the Tiber, stands a small and picturesque
*Round Temple, with twenty Corinthian columns, the ancient name
of which is uncertain (Portunus ?). The ancient entablature and roof
and one column have disappeared. With the exception of the circular
podium, the whole edifice is built of solid marble instead of the much
more usual concrete core veneered with marble slabs. Beneath the
present poor wooden roof lies the little church of Santa Maria del
Sole, also called Santo Stefano delle Carrozze.

The Ponte Palatino (PI. II, 16), a new iron bridge, called also
Ponte Emilio or Nuovo Ponte Rotto (comp. below), connects the
Piazza Bocca della Verita with Trastevere (Lungarina, p. 374). Ad-
jacent, upstream, is the solitary remaining arch of the ancient Pons
Mnilvus, built in 181 B.C. , the position of which exposed it to fre-
quent injury from inundations. The two arches next the left bank
were carried away by the great flood of 1598, after which it was
called Ponte Rotto. Below the new bridge is the mouth of the Cloaca
Maxima (p. 283), the arch of which, preserved below an arch in the new
quay, may be seen from the bridge when the river is not too high.

To the right of the bridge is a second small and well-preserved
*Temple (converted in 880 into the church of Santa Maria Egiziaea ;
PI. II, 16), dating, as its style seems to indicate, from the close of
the Republic. It is an Ionic pseudoperipteros, with 4 columns at
each end, and 7 on each side; but those of the portico, which is
now built up, were alone detached, the others being merely decorat-
ive half-columns. The edifice is built of tufa, with the projecting
and sculptured parts of travertine, the whole overlaid with stucco.
There is no authority for assigning it (as is commonly done) to For-
tuna Virilis; it is perhaps more probably the temple of the Mater
Matuta. The interior is uninteresting.

Directly opposite the entrance to this church is the picturesque
House of Crescentius (PI. II, 16), commonly called Casa di Kienzi,
or di Pilato, constructed of brick with a singular admixture of an-
tique fragments. On the E. side, Via del Ricovero, a long metrical
Latin inscription records that 'this lofty house was erected by
Nicholas, son of Crescens, foremost and descended from the fore-
most, not from motives of ambition, but to revive the ancient glory
of Rome'. The Crescentii were the most powerful noble family in
Rome at the close of the 10th cent., but no scion of the name of
Nicholas can be traced, and the house, the oldest existing specimen
of mediaeval domestic architecture in Rome, is perhaps not earlier
than the 11th or 12th cent. (comp. p. lxii). The building was orig-
inally much larger, and was intended to command the bridge over

286 III. Southern Quarters. KOMji. f. The Aventine.

the Tiber. It has nothing to do with Cola di Rienzo, 'the last of the
tribunes', who was born in the Rione Regola.

To the N., following the bank of the Tiber or taking the Via
Bocca della Verita (p. 283) to the Piazza Montanara (p. 233), we
may reach the Theatre of Marcellus (p. 232).

Between the S.W. slope of the Palatine, along which now runs
the Via be' Cebchi (PL 111, 19), and the Aventine, was situated
the Circus Maximus, which was originally instituted by the kings,
afterwards extended by Csesar and furnished with stone seats, and
lastly more highly decorated by the emperors. In the time of Pliny
it was capable of containing over 100,000 spectators, and after sub-
sequent extensions the number of places was increased to 200,000.
The last race which took place here was under the auspices of Totila
the Ostrogoth in 549, when the city was to a great extent in ruins.
In the centre ran a spina, or longitudinal wall which connected the
rnetae, or goals, and bounded the course. With a few trifling excep-
tions, the walls of the circus have disappeared ; but its form is
distinctly traceable from a higher point, such as the Palatine.

The Jewish Cemetery lies within the Circus; at the base of the Aven-
tine (entrance from the Via dell' Orto degli Ebrei, the first turning to the
left from the Via di Santa Sabina). A pretty view of the Palatine and the
S. quarters of the city is enjoyed hence.

f. The Aventine. Monte Testaccio. Pyramid of Cestius.

Electric Tramway from the Piazza Venezia via, the Forum to the Piazza
Bocca della Verita and thence by the Via della Salara and the Porta San
Paolo to San Paolo Fuori, see 'So. 4 in the Appendix.

The Aventine (150 ft.), anciently the principal seat of the Ro-
man Plebs, and also afterwards densely peopled, is now occupied by
monasteries and vineyards only, and is as yet little disturbed by the
modern building activity.

At the base of the hill is the Via della Salara (PI. Ill, 16),
beginning at the Piazza Bocca della Verita (p. 283), and continued
by the Via della Marmorata (p. 288). Immediately beyond Santa
Maria in Cosmedin (p. 283) and 2 min. farther, at the small Chapel
of St. Anna, streets diverge to the left from the Via Salara, both
ascending to the top of the Aventine.

The second of these, the steep Vicolo di Santa Sabina, reaches
the top of the Aventine in 5 minutes. The extensive remains of tufa
walls, which bound the vigna to the right at the corner of the street,
date from a Castle, whence in the 13th cent, the Savelli commanded
the river and the road on its banks. On the top, in the Via di Santa
Sabina, are the three churches on the Aventine (Santa Sabina, Sant'
Alessio, Santa Maria Aventina), situated close together.

*Santa Sabina (PI. Ill, 16), which probably occupies the site of
a temple of Juno Regina, was erected in 425, in the pontificate of
Qoelestine I., by Petrus, an Illyrian priest, and restored in the 13th,

f. The Avenwiic?— ■■ iwmk. "ttij. southern Quarters. ab(

15th, and 16th centuries. Honorius III. presented the church, along
with the old papal palace adjoining it, to St. Dominic, who made
it the headquaiters of his oTder. It is usually entered by a side-
door; if closed, visitors ring at the door to the left, and proceed
through the old portico, now huilt up, and the principal portal. The
cypress-wood doors are adorned with carvings of scriptural scenes,
mostly of the 5th cent, (the upper relief on the left is perhaps the
oldest representation of the Crucifixion). Comp. p. lxi.

The Interior, with its open roof and twenty-four ancient Corinthian
columns of Hymettian marble , has retained the character of an early
Christian basilica almost unimpaired. — Entrance Wall. Over the door,
an admirable Mosaic (430 A. D.): inscription with the name of the founder,
on the left a figure emblematical of the Ecclesia ex Circumcisione (Jewish
Christians), on the right that of the Ecclesia ex Gentibus (Gentile Christians).
— Nave. On the pavement in the centre, towards the altar, is the tomb of
Mufioz da Zamora, general of the Dominican order (d. 1300), adorned with
mosaic. — At the end of the Right Aisle, in the Chapel of St. Dominic,
the 'Madonna del Rosario with SS. Dominic and Catharine, an altar-
piece by Sassoferrato, regarded as his masterpiece (stolen in 1901 but sub-
sequently recovered}. Adjacent on the right, Renaissance tomb of Card.
Auxias de Podio (d. 1483). — Several fragments of the ancient choir-screen,
with ornaments of the 9th cent., have been built into the wall of the
Left Aisle.

The small garden of the former Dominican Monastery contains an old
orange-tree said to have been planted by St. Dominic. It is visible from
the small window opposite the wooden door. The handsome cloisters
(p. lxi), with 103 small columns, and the large garden now belong to a
Fever Hospital and are quite inaccessible.

Sant' Alessio (PI. Ill, 16) is an ancient church with an entrance
court. The date of its foundation is unknown , but it was re-conse-
crated by Honorius III. after the recovery of the relics of the saint
in 1217. In 1426 it came into the possession of the Order of St.
Jerome. In the neighbouring monastery a blind asylum (Istituto de1
Ciechi) has been established. We enter the court, and, if the church
is closed, ring at the door at the end of the right cloister (t/2 fr.).

The Interior was modernized in 1750, and again recently. The N.
aisle contains a well and a wooden staircase belonging to the house of the
parents of the saint, which formerly stood on this site. In the choir are
a bishop's throne and two small columns adorned with mosaic , according
to the inscription the remains of a work of 19 columns by Jacobus Cosmas
(p. lxii).

The Via di Santa Sabina next reaches a small piazza embellished
with obelisks and trophies in stucco. The brown door No. 40, to the
right in this piazza, with the arms of the Grand Master of the Knights
of Malta above it, contains a brass-bound aperture above the keyhole,
through which is obtained a celebrated *View of the dome of St.
Peter's at the end of the principal avenue of the garden. (Adm. to
the garden on Wed. and Sat. from 9 a.m. till dusk ; ring at the door.)

Santa Maria Aventina (PI. Ill, 17), also called del Priorato,
belong to the Maltese Order, which celebrates its periodical festivals
here. This church, founded perhaps as early as the 10th cent., was
restored under Pius V., and remodelled by the Grand Prior Card,
Giov. Batt. Rezzonico from plans by Piranesi in 1765.

288

///. Southern ; Testaccio.

To the right of the entrance is an ancient sarcophagus, on which the
deceased (head unfinished) , surrounded by Minerva and the Muses , is
represented ; the remains of a Bishop Spinelli were afterwards placed in
it. Also a statue of Piranesi (d. 1778), and the monuments of several
members of the Maltese Order: Grand Master Eic. Caracciolo (d. 1395);
Gio. Diedo, Grand Prior of Venice and nephew of Pope Eugene III. ; the
'bailli1 Bart. Carafa, by the Magister Paulus (beside the altar, to the right),
and Sergio Seripando (first recess to the left of the entrance), of the 15th cent-
ury. The third recess to the left contains a remarkable marble reliquary
of the 13th cent., roughly wrought after the pattern of an antique funeral urn.

The garden contains one of the finest palm-trees in Rome, in-
jured by a cannon-hall during the siege of 1849. This garden, and the
upper floor of the Villa Magistrals of the Maltese Order (adm.
pp. 150, 151), which adjoins the church, command a picturesque
view of Rome, the Campagna, and the mountains, now, like many
similar views, gradually being built up. The second floor contains
a large saloon with portraits of all the grand -masters (74) from
Frater Gerhardus (1113) down to the present Grand Master Ceschi,
among them that of the Emp. Paul I. of Russia (1798-1801, after
the taking of Malta by Bonaparte).

On the W. brow of the Aventine rises the huge international
Benedictine seminary of Sant' Anselmo (PI. Ill, 17), consecrated
in 1900. The rough and dirty road passing to the left of it descends
in 10 min. to the Via della Marmorata (see below).

The Via della Marmorata (PL III, 16, 17) reaches the Tiber
in 6 min. from the Piazza Bocca della Verita, and skirts the river
for about 2 min., affording to the right a pleasing retrospect of the
Ponte Palatino and the Capitol. On the river-bank was the Mar-
morata, the landing-place and depot of the unwrought Carrara
marble. Opposite lies the harbour of Ripa Grande, in front of the
large Ospizio di San Michele (p. 376).

The street now leaves the river and leads S.E. towards the Porta
^an Paolo. The former Prati del Popolo Romano, between the street
and the river, are now occupied by a new quarter of ugly tenement
houses. This was the quarter of the ancient Horrea or warehouses
for goods landed from tlie shipping in the Tiber.

At No. 94 Via della Marinorata is the University Museo dei Gessi
(PI. Ill, 10), containing casts from antiques that are not in Rome. This
collection, useful for purposes of study, is open on Wed. & Frid. 2-5, Sun.
10-12.30 (closed July lst-Nov. 16th).

After 6 min. the road from the churches on the Aventine de-
scends from the left (see above). Just beyond this the street is crossed
by the broad Via Galvani, leading on the left to San Saba, Santa
Prisca (p. 290), and the Circus Maximus (p. 286), and on the right
to the river, Mte. Testaccio, and the extensive new Slaughter Houses
( Mattatoio).

The Monte Testaccio (PI. Ill, 15) is an isolated mound,
115 ft. in height and about 1000 paces in circumference, rising
above the Tiber, and consisting, as the name indicates, entirely
of broken pottery. It is formed of the large earthenware jars (dolia),

f. Pyramid of *jmitu»<- KtwvFBr 111. Southern Quarters. 28 J

chiefly from Spain and Africa, which were unpacked at the neigh-
bouring Emporium. The hill is now honeycombed with cellars, in
some of which wine is sold. — The summit, marked by a wooden
cross, commands a once celebrated panorama, now much injured by
the new buildings of the neighbourhood.

To the N., the city, beyond it the mountains near Baccano and the
isolated Soracte. To theE. the Sabine Mts., in the background the imposing
Leonessa, in the nearer chain Mte. Gennaro, at its base Monticelli, farther to
the right Tivoli. Beyond this chain the summits of Monte Velino above
the Lago Fucino are visible. To the S. of Tivoli appears Palestrina.
After a depression , above which some of the Volscian Mts. rise, follow
the Alhan Mts.: on the buttress farthest E. is Colonna, beyond itFrascati,
higher up Rocca di Papa, Mte. Cavo with its monastery, below it Marino,
finally to the right Castel Gandolfo. In the broad Campagna are the
long lines of arches of the Aqua Claudia and the Acqna Felice towards
the S.E., and the tombs of the Via Appia and that of Csecilia Metella.

The Porta San Paolo lies about 5 min. beyond the Via Galvani.
Just before the gate is reached, a short side-street on the left leads
to the Protestant Cemetery.

The Protestant Cemetery (PI. Ill, 18) is open from 7 a.m. till
dusk (ring; custodian, who has the key of the older cemetery also,
20-30 c). The older burying - ground , adjoining the Pyramid of
Cestius, is now disused. In 1825 the present burial-ground was
set apart for this purpose. It is a retired spot, rising gently towards
the city-wall, affording pleasing views, and shaded by lofty cypresses,
where numerous English, American, German, Russian, and other
visitors to Rome are interred. The new Chapel, in the Romanesqus
style by A. Holzinger, was erected at the W. end in 1896-98.

Of the Old Cemetery Shelley wrote that 'it might make one in love
with death, to think that one should be buried in so sweet a place*. Close
to the entrance and seen from the outer edge of the moat surrounding
the cemetery, is the tomb of John Keats (d. 1821), bearing the melancholy
inscription: 'Here lies one whose name was writ in water'. Beside the
grave of Keats is that of his friend Joseph Severn (d. 1879). Behind rests
John Bell (d. 1820), writer on surgery and anatomy. J. A. Carslens (d. 1798),
the painter, is also buried here.

Amongst many illustrious names in the New Cemetery the eye will
fall with interest upon that of the poet Shelley (d. 1822), 'cor cordium',
whose ashes were buried here (near the upper, or eastern, wall) ; the pre-
sent new tomb, by Onslow Ford, was erected in 1891. Shelley's remains
were burned in the bay of Spezia, where they were washed ashore; his
heart, the only part not consumed by the flames, is now at Boscombe in
England. Adjoining Shelley is the grave of Trelamny (d. 1881). On the
opposite side of the walk lies J. A. Symonds (d. 1893), and below, in the next
walk, Constance Fenitnore Woolson (d. 1894). The graves of R. M. Ballantyne
(d. 1894), the author, of William and Mary Bowitt (d. 1879 and 18-8), and of
John Gibson (d. 18o6), the sculptor, and several other artists may also be re-
cognized. August Goethe (d. 1830), son of the poet, is also interred here.

The *Pyramid of Cestius (PI. Ill, 18) , originally on the Via
Ostiensis , but enclosed by Aurelian within the city-wall , is the
tomb of Caius Cestius Epulo, who died before B.C. 12. The Egyptian
pyramidal form was not unfrequently adopted by the Romans in their
tombs. That of Cestius is formed of concrete and covered with
marble slabs; height 116 ft., length of each side at the base 98 ft.

Baedeker " "' ' '"' """ 19

290

///. Southern ^uantra. nomrx ,. San Saba.

According to the principal Inscription on the E. and W. sides ('C.
Cestius L. f. Pob. Epulo. pr. tr. pi. VII. vir epulonum'), the deceased,
son of Lucius, a member of the Tribus Poblilia, was praetor, tribune of
the people, and member of the college of Septemviri Epulones, or priests
who superintended the solemn sacrificial banquets. The inscription On
the E. side below records that the monument was erected in 330 days
under the supervision of L. Pontius Mela and the freedman Pothus. — In
the middle ages the pyramid passed for the tomb of Remus. Alexander VII.
caused the deeply imbedded monument to be extricated in 1660, and ordered
the formation of the present entrance to the vault (19 ft. long, 13 ft. wide,
and 16 ft. high), which was originally accessible by ladders only.

The Porta San Paolo (PI. Ill, 18), immediately to the E. of the
Pyramid of Cestius, is the ancient Porta Ostiensis. — Hence to San
Paolo Fuori, see p. 397; electric tramway, No. 4 in the Appendix.

The Via di Porta San Paolo, diverging to the N.B. from the
Via della Marmorata just inside the gate, reaches in 5 min. (left)
a fragment of the old Servian Wall (PI. Ill, 20; p. xxx), about
30 ft. high and 100 ft. long, consisting of large blocks of tufa, laid
alternately as headers and stretchers (comp. p. 271). The arch in it
is of much more recent date. The remains show that the wall was
quite out of use and built over in the later days of the Republic.

A little farther on the Via di San Saba (right) and the Via di
Santa Prisca (left) diverge to the churches of these names.

San Saba (PI. Ill, 21) , dedicated to the Cappadocian abbot
Sabas (d. ca. 431 A.D.), is a church of great antiquity, but was
almost entirely rebuilt in 1465. It belongs to the Collegium Ger-
manicum. To the left in the portico is an ancient sarcophagus with
a representation of a wedding and Juno Pronuba. The interior con-
tains 17 columns, some of granite, others of marble, with mutilated
capitals ; the walls of the central apse and of the left aisle show
traces of paintings. In the left aisle are five ancient sarcophagi,
and other Roman remains may be seen in the conventgarden. The
loggia above the entrance commands a fine view.

In the course of the extensive restorations (now temporarily suspended)
numerous antique fragments and sarcophagi were brought to light, as well
as the remains of an earlier church (about 13 ft. beneath the present floor),
with traces of paintings of the 7th and 12th centuries.

Santa Prisca (PI. Ill, 20 ; usually closed), another very ancient
church, but modernised in the 18th cent., is traditionally stated to
cover the site of the house of Aquila and Priscilla. Adjacent is
the 'Castello di Costantino' (p. 138) , an osteria commanding a
beautiful *View of the Palatine and other deserted S. quarters of
the ancient city. — About 5 min. farther on the Via Santa Prisca
unites with the Via di Santa Sabina (p. 286).

g. The Via Appia within the City.

From the Arch of Constantine (PI. II, 22; p. 270) by the Via di
San Gregorio to the church of San Qregorio Magno, see pp.294, 295.
Just beyond the church the Via de' Cerchi (p. 283) diverges to
the right.

g. Thermae of UaracaUa. 'ROME. II J. Southern Quarters. 291

Near the point where the Via San Gregorio unites with the Via
m Porta San Sebastiano (PI. Ill, 22, 23, 27) was anciently
situated the Porta Capena, whence the Via Appia issued. We follow
the Via di Porta San Sebastiano to the left.

After 5 min., at the end of the avenue which runs parallel with the

£fwn. ?pi tV1'!^ ' *. r?^ asc1nds on the riSht t0 the cllu™h of Santa
Balbina (PI. Ill 23) situated on the slope of the Aventine, and consecrated
by Gregory the Great. The roof is still open, but the church is modernized
and destitute of ornament. It contains a relief (Crucifixion) by Mino da
Fxesole and. the handsome tomb of Card. Stefano Surdi, by Johanne*
Cosmas. (Visitors ring at the gate on the right of the church.) The ad-
jacent building is a Reformatory for young criminals.

After following the Via di Porta San Sebastiano for a short distance
we obtain a view to the left of the Villa Celimontana (p. 298). After
10 min. the road crosses the turbid streamlet Marrana. On the left
is a nursery-garden (Semeneaio Comunale). On the right, at No. 29
just before reaching the church of Santi Nereo ed Achilleo, is the
entrance (3/4 M. from the Arch of Constantine) to the ruins of the —

Thermae of Caracalla, or Thermae Antoninianae (PI. Ill 23 •
adm., pp. 150,151). These baths were begun in A. D. 212 i by Cam-

u u f/u I! ,: u L

ealla, extended by Heliogabalus, and completed by Alexander Severus.
They contained 1600 marble baths, but could accommodate a much

19*

292 III. Southern Quarters. ftOMK. ^ S. Nereo edAchilleo.

larger number of bathers at once. Their magnificence was unparal-
leled. Numerous statues , including the Farnese Bull, Hercules,
and Flora at Naples, mosaics, etc., have been found here, -while the
massive walls, notwithstanding the destruction of the roof, still bear
testimony to the technical perfection of the structure. The bathing
establishment proper, surrounded by a wall with porticoes, a race-
course, etc., forming a square, was 240 yds. in length and 124 yds.
in breadth , while the entire enclosure was 360 yds. long and as
many broad. In the time of the Emperors the act of taking a bath
had become a highly luxurious and elaborate process, the chief steps
in which were as follows : first , a hot-air bath of moderate tem-
perature in the so-called Tepidarium, with anointing and gentle
massage; second, a hot- water bath in the Caldarium ; next, a cold
plunge in the Frigidarium or Piscina ; and finally, the 'rubbing
down' or 'shampooing', with a second anointing. Some of the prin-
cipal rooms have been identified, but the names given to the others
are somewhat arbitrary. The latter were used for gymnastic exercises,
conversation, and repose, and included also libraries and gardens.

We first enter the Frigidarium, a large unroofed room, with a swim-
ming-basin, then pa-s through a small room to the right to the Palaestra,
a square hall once surrounded by columns, and containing scanty remains
of mosaic pavement. In the middle of the long wall, where the well is
now, projected a semicircular Exedra (where part of the Mosaic of the
Gladiators, now in the Lateran, was found; comp. pp. 306, 310). We then
enter the central hall, errone>usly called the Tepidarium, a large room
formerly covered with a slightly vaulted roof; in the corners are four
basins for tepid baths. — To the right, beyond a small ante-chamber
(cella media) in rains, is the Caldarium, a circular chamber with very
thick walls, the vaulting of which has fallen in. The heating arrange-
ments and hot-air pipes have been discovered here. By ascending a small
(light of steps within the first pier on the right we obtain a good survey
of the ground-plan. — The smaller rooms are arranged symmetrically on
both sides of the three principal chambers. In the second (S.) Palaestra
(corresponding to the one mentioned above), where most of the above-
mentioned mosaic was discovered, are exhibited architectural and sculp-
tural fragments, and the remains of a mosaic pavement with sea-monsters
(from the upper floor). — On the S. side of the outer boundary wall a
domed octagonal room has been preserved, beside a large swimming-bath.
Opposite the Caldarium, outside the W. wall, are distinct traces of a Sta-
dium for foot-races. Other remains of the Thermee are scattered throughout
the neighbouring vineyards. — The exit is on the right of the Frigidarium,
to which we now return.

Continuing to follow the Via di Porta San Sebastiano, we next
reach, on the right, the ancient church of Santi Nereo ed Achilleo
(PI. Ill, 23, 26; custodian at No. 8a"), rebuilt by Leo III. about
800, and again by Card. Baronius at the close of the 16th century.

The Intkriok exhibits the characteristics of an early basilica. The
handsome floor is of Opns Alexandrinum. At the end of the nave is an
ainbo on the left, brought from San Silvestro in Capite ; on each side of the
altar is a marble candelabrum (beginning of the 16th cent.). Above the arch
of the tribune are fragments of a mosaic of the time of Leo III. : Trans-
figuration, with Moses and Elias, in front the kneeling Apostles, on the
right the Annunciation, on the left the Madonna enthroned (comp. p. lxii).

The opposite church of San Sisto, restored by Benedict XIII., is

g. Tomb of the SKTJIKK. ROME. III. Southern Quarters 293

uninteresting. The monastery was assigned to St. Dominic by Ho-
norius III. — The Via della Ferratella then diverges to the left to the
Lateran (p. 302).

On the right, a little farther on, is San Cesareo (P). Ill, 27 ; open
on Sun. and festival mornings"), a small hut curious church, mention-
ed by Gregory the Great, and finally restored by Clement VIII.

Interior. In the centre of the anterior portion of the church are two
altars, of the close of the 16th cent. ; at the farther end, to the left, the old
pulpit with sculptures : Christ as the Lamb, the symbols of the Apostles,
and sphinxes; opposite, a modern candelabrum with ancient basis. The inlaid
screen of the Presbyterwto, and the decorations of the Nigh Altar are Cos-
mato woi'k (p. lxii); so also is the ancient episcopal throne in the tribune.

The piazza in front of the church is adorned with an antique
column.

The ancient Via Latina, which diverges here to the left, quitted the
limits of the Aurelian city by the Porta Latina (PI. Ill, 30; closed in 1803;
p. 391), 5 min. from San Cesareo. Near the gate, to the left, beyond the
old monastery, is the church of San Giovanni a Porta latina (PI. Ill, 30),
which was founded in the 8th cent., rebuilt by Ccelestine III. in 1190, and
modernised by restorations in 1566, in 1633, and chiefly by Card. Rasponi
in 1686. It contains little of interest, beyond four antique columns in
the portico and ten in the interior. To the right, nearer the gate, is an
octagonal chapel of 1509 (perhaps designed by Bramante), named San Gio-
vanni in Oleo from the legend that St. John was thrown into a cauldron
of boiling oil at this spot, but haying come out unhurt was then set at
liberty (festival on May 6th).

Farther on in the Via di Porta San Sebastiano, on the left by the
cypress, in the Vigna No. 12, is the Tomb of the Scipios (PI. Ill,
27; open 10-5, uninteresting, candles required, 25 c.), discovered in
1780. The tomb was originally above the surface of the earth, with
a lofty threshold ; the interior was supported by walls hewn in the
solid tufa-rock. It was probably injured, or at least altered, during
the imperial age, when freedmen were interred here; and various
modern alterations have increased the difficulty of realising its
original arrangement. The ancient sarcophagus (p. 357) and in-
scriptions are now represented by copies merely (adm. 10-5 , by
candle-light, 25c).

This sarcophagus once contained the remains of L. Cornelius Scipio
Barbalus, Consul in B.C. 298, the earliest member of the family buried
here. The bones of the hero were interred at Padua by Quirini, a Vene-
tian. Here, too, were interred the son of Scipio Barbatus, Consul in 259,
many of the younger Scipios, the poet Ennius, and several members of
other families and freedmen.

In the same vigna, to the E., is the Columbarium of Pomponius
Hylas, or of the Freedmen of Octavia, wife of Nero, in which a
staircase (25 c.) descends to a subterranean chamber, with niches
in the walls for the funeral urns. Structures of this kind were
common in imperial times and were generally constructed by several
families in common, or as a matter of speculation, and each recess
could be purchased, given away, or inherited. Their name is derived
from the resemblance of the niches to pigeon-holes (columbaria).
The names of the deceased, painted on plaster or carved on marble

dyQ U J, Southern 'he Caelius :

tablets are placed above or beneath the niches (loculi), which run in
uninterrupted rows round the chamber, even below the low stone
benches (podia). The mode of acquisition of the spot was fre-
quently added. Let into the wall under each niche were 2 , or
more rarely, 1, 3, or 4 ollae, or cinerary urns. The nature of the
decorations depended of course on the means of the family. The
columbarium of Hylas is distinguished by its decorations in stucco
and colours. Directly opposite the staircase is a niche decorated
with stucco, beneath which is a cinerary urn with shells and mosaic;
to the right is an apse with painted vine-tendrils and Victories.

In the adjacent VignaCodini, No. 13, are three other Columbaria
(ring; fee 72 fr.).

Two of these structures are almost square. The vaulting of the larger
building, in which there are more than 600 urns, is borne by a massive
central pier. The smaller building, according to the inscriptions, was
built in A. D. 10 for the Slaves and Freedmen of Marcella, niece of Augustus.
— The third columbarium, discovered in 1853, consists of three vaulted
passages in the shape of a horseshoe, the walls of which contain rectangular
niches of various sizes, some of them formerly adorned with rare marbles
and stucco.

A few min. farther on, just inside the Porta San Sebastiano
(l*/4 M. from the Arch of Constantine), is the so-called Arch of
Drusus (PI. Ill, 30), constructed of travertine blocks, partly covered
with marble, and still possessing two marble columns on the side
towards the gate. It originally had a lateral opening on each side.
The name and date (B. C. 8) commonly ascribed to this monument
are erroneous ; the arch is more probably of the reign of Trajan.
It terminated in a pediment, until Caracalla, for the supply of his
baths (p. 291), conducted an aqueduct over it, the brick remains of
which seriously mar the effect.

The marble blocks of the Porto San Sebastiano (PI. Ill , 30),
the ancient Porta Appia, seem to have been taken from antique build-
ings. The gate is surmounted by medieval battlements.

With regard to the Via Appia without the city, see p. 393 ; the
Catacombs of Calixtus, iy4 M. from the gate, see p. 404.

h. The Caelius.

This once densely-peopled hill (165 ft.) is now deserted, like the
Palatine and Aventine.

Starting from the Arch of Constantine (PI. II, 22; p. 270), we
follow the Via di San Gregorio (PI. Ill, 22) towards the S., leading
between the Palatine and Calius. On the right we observe the
handsome palm of the convent of San Bonaventura (p. 265), and
the arches of the Aqua Claudia (p. 281). Above the street, on the
left, is the Botanic Garden, and farther on, at No. 1, the entrance
to the municipal —

Antiquarium (PI. II, III, 22), formerly the Magazzino' 'Archeo-
logico, containing the antiquities most recently discovered in the
city. Adm., see pp. 150, 151.

San Gregono jyiuytw. EDMJ5, 111. Southern Quarters. 295

In the Garden are various fragmentary sculptures and inscriptions
and the'remains of a tombstone with carvings of four-horsechariots, found
beside the Porta del Popolo. u

Boom I. In the cabinets on the right are broken specimens in stucco,
pottery, and smiths'^ work; inlaid marble decoration and painting (pig-
ments). On the exit-wall, to the right, is a collection of specimens of
the most precious marbles. To the left: Brick-stamps; pipes from foun-
tains; iron-mounted door from a tomb. — Room II. The cases contain
fragments of sculpture, some of them of great beauty. End-wall (right):
Fragmentary statue of a youth in the act of fighting. On the back-wall (!)
opposite is an excellent replica of the Vesta Ginstiniani (p. 373); and in
the centre is a good copy of the Pallas of Velletri (original in the Louvre). —
Boom in. Ohjects from the cemetery on the Esquiline. To the right,
peperino fragments from the tomb of a member of the guild of flute-players
('tibicines') , who performed at public sacrifices in Rome. To the left,
lamps; contents of single graves. In the centre are the remains of a
water-conduit. — Room IV. The cabinets contain votive reliefs and figures
in terracotta. To the right are objects found in excavating the Quirinal
tunnel (p. 176): Head of a strategos or general, Statue of a boy, after au
archaic original. To the left are sepulchral sculptures and inscriptions of
the republican era in peperino (grey) and travertine (yellow). — Room V.
On the end-wall to the right, helow: Head of an Egyptian princess (the
eyes were inserted), Head of a muse or poetess, with cap and garland;
above: to the left of the small head under glass, Head of a goddess with
a cap, Head of a youth, after Polycletus, Head of Perseus with the winged
cap. To the right of the entrance, on the middle shelf, are heads of
Hephsestus with a cap and of a youth, both retaining traces of painting
and gilding; to the right, Head of a girl, expressing strong feeling; above,
Head of Apollo and Head of Diomede. To the left of the exit, Group of
a satyr and nymph, showing traces of colouring. Opposite, Statuette of a
girl. In the centre, to the left, two Muses and a Diadumenos (lifter Poly-
cletus). Beautiful ornaments. — Room VI. Lead and bronze pipes, basins,
sculptures, and other objects from Roman waterworks, conduits, and baths.
To the left is a long inscription in honour of Caius Duilius, from the Forum
of Augustus (p. 273).

We continue to skirt the Via San Gregorio and finally pass
through an iron gate to the church of —

San Gregorio Magno (PI. Ill, 22), originally huilt by Pope
Gregory the Great in 575 on the site of his father's house, and
dedicated by that pope to St. Andrew, and afterwards by Gregory II.
to his first namesake. In 1633 it was restored under Card. Borghese,
by Oiov. Batt. Soria, who designed the steps, colonnade, atrium,
and facade. The interior was modernized in 1725-34. — It was
from this church that St. Augustine, a member of the adjoining
Benedictine monastery, set out in 596 with forty monks to preach
Christianity in England. — Cardinal Vaughan was titular of this
church, as was Cardinal Manning before him.

Entrance Codet. Under the colonnade in front of the entrance: left,
monument of the Guidiccioni of 1643, but with sculptures of the 15th cent. ;
right, fine monument of the two brothers Bonsi, by Luigi Capponi (ca. 1498).
Here also is the monument of Sir Edward Came (d. 1561), English am-
bassador to Rome under Henry VIII. — Interior, with sixteen ancient
columns. At the. end of the Right Aisle: Chapel of St. Gregory, with
small marble reliefs by Luigi Capponi, in front of the altar. The altar-
piece is by S. Badalocchi (?) ; the predelle represent the Archangel Michael
with the apostles and other saints , probably by a pupil of Pinturicchio.
Here to the right is a small Chambee preserved from the house of St. Greg-
ory, containing a handsome ancient chair of marble, a recess in which Ores-

296 III. Southern (J-OSftem. huhb. h. The Caelius:

ory is said to have slept, and a collection of small relics of saints. Oppo-
site, from the left aisle, the Cap. Salviati is entered. Over the altar on
the right, an ancient and highly revered Madonna, which is said to have
addressed St. Gregory; left, an altar from the studio of Andrea Bregno (1469),
disfigured by regilding.

Qhe sacristan ('/* fr.) now shows three "Chapels detached from the
church, and connected by a colonnade. A fragment of a wall of the im-
perial epoch (erroneously said to be earlier than that of Servius), partly
covered with remains of other walls , is observed here. To the right,
Chapel of St. Silvia, mother of Gregory, with her statue by Cordieri; in
the apse, a fresco (Angelic concert) by Guido Reni, greatly damaged (1608).
— In the centre, Chapel of St. Andrew. Over the altar: Madonna with
SS. Andrew and Gregory, painted on the wall in oils bv Roncalli. On the
right, Martyrdom of St. Andrew, Domenichino; on the left, St. Andrew, on
the way to execution, beholding the cross, Guido Reni; two pictures once
extravagantly admired. In the left lower corner of each is the portrait of
the artist. — To the left, the Chapel of St. Barbara, with a sitting statue
of St. Gregory in marble, said to have been begun by Michael Angelo, com-
pleted by Cordieri. In the centre a marble table with antique supports,
at which St. Gregory is said to have entertained twelve poor persons daily.
According to the legend, an angel one day appeared and formed a thirteenth.

We now ascend the Via di Santi Giovanni e Paolo, which leads to
the N., passing under several brick arches and skirting (on the left)
the antique brick facade, which is now the wall of the lower church
of Santi Giovanni e Paolo. In a few minutes we reach —

*Santi Giovanni e Paolo (PI. Ill, 22), a small church in the form
of a Greek cross, founded about 400 by the senator Pammachius on
the site of the house of SS. John and Paul, two exalted court-of-
ficials, who, according to the legend, suffered martyrdom in the
reign of Julian the Apostate. When Rome was plundered by Robert
Guiscard in 1084, this building was severely injured; but it was
restored in the 12th cent., from which period date the atrium (at-
tributed to the English Pope Hadrian IV.), the mosaic-pavement in
the interior, and the architecture of the outside of the apse, with
its elegant columns. In 1718 Cardinal Paolucci disfigured the in-
terior by altering it in the baroque style. The conspicuous dome
over the chapel of St. John in the left aisle was added in the ponti-
ficate of Pius IX., when the whole church was restored by Cardinal
Howard, the titular.

The modernized upper church is comparatively uninteresting,
but below it are the interesting remains of several earlier structures,
for, as at San Cleuiente (p. 299), several strata of buildings have been
found here one above another. These include two Private Houses,
one wi h pagan frescoes, the other with Christian frescoes (unique
in Rome) ; an Early Christian Oratory ; and a Mediaeval Chapel. All
these were buried in the course of the destruction of 1084 and the
subsequent restorations, and remained concealed for seven hundred
years. They have been excavated since 1887 under the direction of
the Passionist Padre Germano. Festivals on June 26th (see p. 145)
and Feb. 14th.

The entrance is at the end of the S. aisle (sacristan with light, 50 c).
We first enter a Vestibule, in which stand several amphorae, one bearing
the monogram of Christ. To the left we enter a hall, known as the Tab-

Piazza dehu uuvictuu. ituivjji,. ill. Southern Quarters, o" (

linnm, 'painted in imitation of marble. On the vaulted ceiling are marine
deities, flowers, and masks, and also three Christian subjects: Moses on
Hort-b, Moses receiving the Tables of the Law, and a praying woman.
These paintings may date from the 4th or 5th century. An adjoining Room
contains older frescoes of genii (nearly lifesize) with festoons of fruit on
a while background (2nd-3rd cent.). Farther on is an Oratory ascribed to
the building of Pammachius, adorned with frescoes, including one of the
beheading of three martyrs (the earliest known representation of a martyr-
dom). At a lower level is a Bath Room, belonging to the earliest construc-
tion on this site. Finally, behind the Tablinum, nextthe Via diSanti Giovanni
e Paolo, is a Chapel with frescoes of the 9th and 11th cent. (Christ with
the Archangels and SS. John and Paul; interesting representation of the
Crucifixion).

Beside the church is a tasteful campanile. — The adjoining
monastery belongs to the Passionists. The garden (ladies not ad-
mitted) commands a fine view of the Colosseum, to the N., and of
the Lateran, to the S.E.

We continue to ascend the street flanked by walls, and reach
the Arch of the Consuls Dolabella and Silanus (PI. Ill, 25), con-
structed of travertine in A. D. 10, to carry the Aqua Marcia over an
ancient street. — Near this, on the right, No. 8, is the portal of a
hospital which belonged to the former small church of San Tommaso
in Formis (PI. Ill, 22), situated behind it. The mosaic-medallion
above the door, representing Christ between a black and a white
slave (indicated as Christians by a cross), was executed, according
to the inscription, by two masters of the Cosmas family (ca. 1218),
and is an allusion to the order of Trinitarians founded in 1198 for
the purpose of ransoming Christian slaves.

To the left, the Via Claudia descends to the Colosseum (p. 266).

On the right lies the oblong Piazza della Navicella (PL III,
25) with a double row of trees, and the church of Santa Maria in
Domnica. In this vicinity, to the S. of the Aqua Marcia, in the
direction of the Villa Celimontana, lay in antiquity the Castra Pereg-
rina, or barracks of the centurions ('frumentarii') of legions on
foreign stations, sent to Rome on service somewhat resembling that
of an officer of the intelligence department. The barracks included
several small temples (of Isis, Jupiter Redux, etc. ). St. Paul on his
arrival in Rome was consigned to the Castra Peregrina, until he was
permitted to remove to his own hired house (Acts, xxviii, 16, 30).
The small Marble Boat ('Navicella') which stands in the piazza re-
calls the thank-offerings dedicated in the temples by the centurions
after dangerous journeys, a small marble boat being an appropriate
gift after a voyage. An antique vessel of this kind formerly stood in
the vestibule of the church, and having been injured, was replaced
by a copy by order of Leo X. Remains of similar marble boats have
been found in the Villa Celimontana.

The church of Santa Maria in Domnica, or della Navicella, one of
the oldest deaneries of Rome, was rebuilt by Paschalis I. in 817, to
which era the columns of the nave and tribune belong ; the portico,
erected by Leo X., is said to have been designed by Raphael.

298 111. Southern (JuTfnvrs. -ROME h. The Caelius.

Interior. — The Nave rests on eighteen fine columns of granite; the
arch of the Tbibunb on two columns of porphyry. On the wall above the
nave is a fresco by Giulio Romano (retouched). The Mosaics (817-824) were
freely restored under Clement XI. : above the arch , Christ between two
angels and the apostles, below, two saints ; in the vaulting, the Madonna
and Child imparting blessings, Paschalis I. kissing her foot, on each side
angels ; beneath all the figures spring forth flowers. — The church is open
on the second Sunday of Lent only ; on other days visitors ring at the door
adjoining the church on the right.

Adjoining the church is the entrance to the Villa Celimontana
(PI. Ill, 25 ; adm., see p. 149 ; fee 25-30 a), or Villa Mattei, founded
in 1582, now the property of M. von Hoffmann. Among the few
antiquities in the garden may be mentioned an obelisk, which in
antiquity stood probably in the temple of Isis Capitolina and in the
middle ages near the Aracoeli until 1582, when it was presented by
the Roman Senate to Ciriaco Mattei. The beautiful grounds com-
mand a striking view of the ruins of Rome and the Alban Mts.

Opposite Santa Maria in Domnica , but not accessible from the
Piazza della Navicella, rises Santo Stefano Rotondo. We follow the
Via di Santo Stefano to the left, pass through the first green door
on the right, and ring the bell placed on the fourth column.

Santo Stefano Rotondo (PI. Ill, 25) is very interesting on account
of its construction, and, though greatly diminished in extent, is the
largest circular church in existence. It stands on the foundations of
the central structure of a large market (Macellum Magnum) of the late
imperial epoch, but was consecrated as a church in 468 by Pope
Simplicius, and in the following centuries gorgeously decorated with
marble and mosaics. It then fell to utter decay, but was restored by
Nicholas V. In the original edifice, the diameter of which was 70 yds.,
the present external wall formed the central ring of columns, while
another lower wall, decorated with pilasters, 11 yds. distant, and
still traceable round the church, formed the circumference. The
edifice thus consisted of three concentric rings , intersected by four
transepts. Nicholas V- left the external wall as it was, and filled up
the spaces between the columns of the central ring with masonry,
with the exception of the projecting chapels. The roof is rudely
constructed of wood. The old entrance was on the E. side.; the
present vestibule was built by Nicholas V.

Interior. To the left is the ancient episcopal throne, an antique chair,
from which Gregory the Great delivered one of his homilies, then an altar-
niche with mosaic (642-619); farther up (1.), a fine monument of the be-
ginning of the 16th century. Most of the fifty-six columns are of granite,
a few of marble. Fearful scenes of martyrdom are painted on the walls,
by Tempesla and Pomarancio (freely retouched). In the centre is a wooden
tabernacle. The roof is borne by two lofty columns of granite and
two pillars.

Beyond the church the Via di Santo Stefano (PI. Ill, 25, 28)
leads, past a large Military Hospital (to the left) and the arches
(Areus Neroniani Aquae Claudiae) of the continuation of the Aqua
Claudia built by Nero for his Golden House, to (5 min.) the vicinity
of the Lateran (p. 302).

i. San Cletiiciiic. — L ivumn." ill. Southern Quarters. ^99

i. San Clemeute. The Lateran.

Tbamwats from the Piazza Venezia to Piazza San Giovanni, and troni
Piazza San Silveitro to Piazza di Porta San Giovanni, see Nos. o and 11 of
the Appx. — Omnibus from the Piazza Santo Pantaleolvia, Piazza Venezia to
Piazza San Giovanni, see No. 18 of the Appendix.

From the Colosseum (p. 266 ; PL II, 22) several streets run to-
wards the S.E. : to the left the Via Labicana towards the so-called
Therm* of Titus (p. 270), to the right the Via de' Santi Quattro to
Santi Quattro Ooronati (p. 301), joining the following street near
the Lateran; and lastly, between these, the Via di San Giovanni
in Latbbano, running direct to ('/2 M.) the Lateran. The last street
leads in 5 min. to a small piazza, where on the left rises the church
of —

*San Clemente (PI. II, 25; one of the side-entrances from the
street generally open ; if not, visitors ring at the principal door under
the portico ; closed during mid-day), one of the best-preserved basi-
licas of Rome. Excavations begun in 1858 and continued from 1861
by Prior Mullooly (d. 1880) have laid bare the early-Christian lower
church and two different strata of Roman masonry below. The
Christian basilica (now the lower church) is mentioned by St. Jerome
as early as 392, and in 417 was the scene of a council of the church.
It was almost entirely destroyed in 1084 on the entry of Robert Guis-
card into Rome, and in 1108 Paschalis II. erected on its ruins the
present upper church, with which he incorporated several ornaments
of the lower, such as the choir and the ambones. The upper church
was also frequently restored, finally with considerable taste^by Cle-
ment XL, who, however, added the unsuitable ceiling of the nave.

— St. Clement (91-100), according to Roman tradition, was the
third successor of St. Peter, and suffered martyrdom in the Black
Sea. This church, which stands on the traditional site of his house,
gives a title to a cardinal, and belongs to Irish Dominicans.

From the principal gate in the Via di San Clemente , we first
enter the Atrium, surrounded by a colonnade and paved with frag-
ments of marble (giallo and verde antico), and beyond it the *Uppek
Church, consisting of nave and aisles, but, like most early-Christ-
ian basilicas, without a transept. Comp. p. lx.

Interior. — The Nave with its flat ceiling is separated from the aisles
by sixteen antique columns, and contains the "Screen of the choir and
the Ambones from the lower church, with the monogram of Pope John VIII.
(key kept by the sacristan). The Canopy with four columns of pa-
vonazzetto dates from the time of Paschalis II. (p. lx). — In the Tkibune
is an ancient episcopal throne, restored in 1108. Mosaics (p. lxiii) of the
tribune of the 12th century. On the rood-arch in the centre: Bust of Christ
with the Symbols of the Four Evangelists, (1.) SS. Paul and Lawrence,
below them Isaiah, lower down the city of Bethlehem, (r.) SS. Peter
and Clement, below them Jeremiah, lower down the city of Jerusalem.
On the vaulting: Christ on the Cross, with John and Mary surrounded
by luxuriant wreaths, below which are the thirteen lambs. On the wall
of the apse, Christ and the apostles, restored by means of painting only.

— On the wall to the right of the tribune are the monuments of Card.
Eoverella (d. 1476), by Giovanni Dalmata and Andrea Bregno, and of Archbp.

oUU 777. Southern Qntmem ■SSMe. i. San Clemente.

Brusati, by Luigi Capponi (1485). — The chapel to the right of the Canopy is
elaborately adorned with frescoes of scenes from the lives of SS. Cyril
and Methodius, executed by S. Nobili in 1886 at the expense of Abp. Stross-
mayr. In the adjoining chapel in the apse, at the end of the Right Aisle,
is a statue of John the Baptist by Simone di Giovanni Ohini. — To
the left of the principal entrance, the Cappella della Passione with
frescoes (retouched), probably painted by Masaccio at a late peiiod of his
life at the instance of Card. Branda Castiglione (d. 1443). On the arch
over the entrance, the Annunciation. To the left, outside the entrance,
St. Christopher. On the wall behind the altar, a Crucifixion. On the left
wall, scenes from the life of St. Catharine: above, she refuses to worship a
heathen idol; teaches the king's daughters in prison; below, she disputes
before Maximian with the doctors (best of the series); an angel destroys
the wheels on which she was to be broken; her execution. The paintings
on the window-wall, greatly damaged, illustrate the story of St. Ambrose.

As above mentioned, and as the accompanying plan and sections
show, there exist below the present church several older strata of
masonry. Lowest of all, and forming a right angle, are two massive
walls, constructed of blocks of tufa quarried on the Cailius itself
and probably dating from the republican epoch (No. I. in the ground-
plan and in the section). Above these are remains of work-manship
of the imperial era, executed in the 2nd cent, after Christ (No. II.
in the ground-plan and in the section; see also p. 301). Upon these
artificial foundations in the 4th cent, was erected the Christian basi-
lica which now forms the *Lowbr Church , the altar of which
stood at the point marked a in the section. This was a much
grander edifice than the church afterwards superimposed, its nave
having been as broad as that of the upper church and one of its
aisles put together, and the lower apse was accordingly considerably
wider than the upper. During the construction of the upper church
the lower was entirely covered up , and until the present day the
two churches were never in use at the same time. — The lower
church (adm. i/2 fr.) is shown daily 10-12 and 2-4, except Sun. and
holidays, by the sacristan, who provides a light. In order, however,
to obtain a distinct idea of the original structure, which has been
considerably marred by alterations, the visitor should visit it on 23rd
Nov., 1st Feb., or on the second Monday in Lent, on which days the
lower church is illuminated after 3 p.m.; even on these days,
however, the visitor should carry his own candle for the inspection
of details. The entrance is from the sacristy of the upper church
(in the right aisle) , on the walls of which are hung copies of the
frescoes in the lower church, and plans comparing the upper with the
lower part of the edifice.

A broad marble staircase, with inscriptions on the walls from the time
of Pope Damaseus , descends to the vestibule in which the nave and
aisles of the lower church terminate. The walls between the columns of
the right aisle were built on the occasion of the construction of the upper
church. The buttresses constructed during the recent excavations for the
support of the upper church are recognisable by their whitewash.

The 'Frescoes date from different periods, extending over seven cent-
uries. Some of them are in excellent preservation. We begin with the —

Vestibule. Immediately by the staircase is a female head with a halo
(5th cent.). — Farther to the left, under the first arch, Christ blessing in the

S.CLEMENTE.

i. San Clernente. ROME. III. Southern Quarters. 301

Greek mode, with first, middle, and little finger extended, between the
archangels Michael and Gabriel and SS. Andrew (1.) and Clement (r.). Before
him kneel SS. Cyril and Methodius (9th or 10th cent.). The figures in this,
as well as in the following scenes, have their names attached. — Opposite
(on the right), a Mother finds at the altar of St. Clement her child who had
been swallowed up by the sea and thrown on shore a year later. Under it
the family of the donor grouped round the medallion-portrait of St. Clement.
To the right is the dedication : Ego Beno de Rapiza pro amore dei et beati
Glementis pingere feci (9th cent.). — On the right, farther on, the Trans-
ference of the remains of St. Cyril from the Vatican to San Clemente in the
reign of Pope Nicholas, with the dedication : Ego Maria Macellaria pro
timore Dei et remedio anime mee haec pingere feci. — At the end of the
vestibule on the right is the entrance to the —

Left Aisle. Over the door of the latter are three badly-preserved
frescoes, of which that in the centre represents the resuscitation of a child.
Two only of the frescoes at the end of this aisle are distinguishable : on the
posterior wall in the left corner , St. Cyril before the Emp. Michael ; on
the lateral wall, a Youth baptised by St. Methodius (10th cent.).

The Nave is now entered through the arch in the right wall. Here,
immediately to the left, is a fresco in three sections, one above the other.
Half of the uppermost, the Enthronement of St. Clement , is destroyed.
That in the centre represents St. Clement celebrating mass; on the right
Theodora converted to Christianity and her husband Sisinins struck with
blindness; the smaller figures on the left are those of the donor Beno and
his wife. Below it is also the dedicatory inscription : Ego Beno de Rapiza
mm Maria uxore mea, etc. The lowest represents Sisinius causing a column
to be bound instead of St. Clement (9th cent.). The lateral surfaces of this
pier, the view of which is obscured by the proximity of the walls (best
seen from the left aisle) , are also adorned with frescoes , representing
St. Biasing, and Daniel in the lions' den. — Farther on towards the vesti-
bule, on the same wall, is another and larger fresco in three sections. The
highest, now half obliterated, represents Christ between Michael and St.
Clement (1.), and Gabriel and St. Nicholas (r.). In the centre are three
scenes from the life of St. Alexius, placed side by side as is the case with
scenes on Roman sarcophagi: a. Alexius returns unrecognised to Rome as
a hermit; 6. Pope Boniface I. blesses the dying man; c. The betrothed of
St. Alexius recognises his corpse. The lowest of the three frescoes is of
a decorative character with flowers and birds. — At the end of this wall
are three scenes from the life of Christ. Next to them, on the wall of
the vestibule, on the right, the Crucifixion, on the left, the Death of the
Virgin. Over the latter, Christ borne by four angels ; at the corners St. Vitus
(r.) and Leo IV. (1.) with the inscription S. Dom. Leo IV. P. P. Ro., and the
square nimbus with which living persons were usually represented (9th cent.).

The frescoes of the external wall of the Right Aisle are almost
obliterated. A niche here contains a group of Mary with Jesus. On the
arch above, Christ (beardless), with figures of angels and saints on each side.

Below the apse are the remains of Buildings of the Imperial Age
(No. II., marked black, in the plan), built of brick. The first of the
three adjoining chambers is enriched with stucco. The next is an ante-
chamber to a Chapel of Mithras, in which, rather singularly, a statue of the
Good Shepherd was found. These chambers are damp and partly filled
with water. A staircase descends to them at the end of the right aisle.

A transverse street opposite to San Clemente leads to the Via db'
Santi Qvattro, which then ascends to the left to the church of —

Sauti Quattro Coronati (PI. II, 25 ; entrance by the gate of the
Ospizio di Orfane), dedicated to SS. Severus, Severianus, Carpo-
phores, and Victorinus, who suffered martyrdom under Diocletian.
Five sculptors, who met with a similar fate for refusing to make
images of heathen gods, are also revered here (the 'scarpellini', or
stone-masons, therefore possess one of the chapels). The date of

d02 ///. Southern Quarters. HUWK: i. TheLateran:

the foundation is very remote, and probably some ancient struc-
ture was originally incorporated in the church. After its destruction
by Robert Guiscard, it was rebuilt by Paschalis II. in 1111, re-
stored under Martin V. by Card. Alfonso Carillo , and afterwards
partly modernized. Key in the entrance-court to the right (y2 fr.).
The church now has two Entrance Courts, a peculiarity owing to
the diminution of its size on one of the restorations, probably by Paschalis II.
It originally extended over the whole of the second court, and its former
breadth is indicated by the ancient columns in the walls of this court.
The disproportionate size of the tribune in the interior can hardly be
otherwise accounted for. — On the right, under the colonnade in front of the
entrance to the second court, is the Cappella di San Silvestro (belonging to
the stone-masons), consecrated under Innocent IV. in 1246, with valuable,
though unattractive ancient paintings from the life of Constantine, somewhat
after the Byzantine style. — The Interior consists of nave and aisles with
galleries. The tribune is decorated with baroque frescoes by Giovanni da
San Giovanni and contains a ciborium from the studio of Andrea Bregno,
presented by Innocent VIII.

To the right, farther on in the Via di San Giovanni (p. 299), is a
large hospital for women, with the obstetric clinical department of
the University. The Via di San Giovanni ends at the Piazza di San
Giovanni in Laterano (PI. Ill, 28), the buildings in which were
erected by Sixtus V., except the new houses to the left, at the S.
end of the Via Merulana (p. 182). In the S.W. corner is the old
baptistery, in the S.E. angle the transept-facade of San Giovanni in
Laterano (p. 303), and on the E. the Lateran Palace (p. 305).

In the centre rises an Obelisk of red granite, originally erected
by King Tutmes III. (B.C. 1436-1427) in front of the temple of
Ammon afrThebes, and brought by Constantius to the Circus Maximus
in 357. In 1587 it was discovered there in three pieces, and in 1588
was erected by Sixtus V. on its present site. This is the largest
obelisk in existence, being 105 ft. in height, or with the pedestal
154 ft., and over 440 tons in weight.

"We first visit the octagonal *Baptistery, II Battistero, or San
Giovanni in Fonte% which was long the only baptistery at Rome, and
afforded a model for all later buildings of the kind. Here, according
to a Roman tradition, Constantine the Great was baptised by Pope
Sylvester I. in 324 (his baptism, in fact, took place in 337, shortly
before his death). Sixtus III. (d. 440) is regarded as the true founder.
In 461 Pope Hilarius added to the baptistery the Oratories of St. John
the Evangelist and St. John the Baptist on the E. and W. sides re-
spectively, and about the year 640 John IV. added the Oratory of
San Venanzio, adjoining the former. Leo X. roofed the baptistery
with lead, and his successors decorated and modernized it.

From the piazza we at once enter the precincts of the Baptistery itself
(PI. a). It is divided into a central space and surrounding passage by eight
large columns of porphyry with antique marble entablature, which are
said to have been presented by Constantine. In the centre is the font, an
ancient bath in green basalt. The frescoes are by A. Sacehi, Maratta, and
others. — Adjacent, to the right, is the Oratory or St. John the Baptist
(PI. 6), containing a statue of the saint in bronze by L. Valadier executed

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San Giovanni in Laterano. ROME. III. Southern Quarters. 303

in 1772 (after Donafello), between two columns of serpentine. The bronze
doors were presented by Hilarius. — On the left, opposite this oratory, is
the Oratoky of St. John the Evangelist (PI. c), with bronze doors of 1196,
and adorned with fine Mosaics representing birds and flowers on a golden
ground. The relief of St. John with the kneeling figure of Leo I. is by
Liiigi Capponi. The statue of the saint, between two alabaster columns, is
by Landini (d. 1594). — A third door admits tn the square Oratorio di San
Venanzio (PI. d), with elaborate mosaics (640-642). — The fourth door, oppo-
site to the entrance from the piazza, opens on the Portico di San Venanzio
(PI. «), formerly the vestibule of the Baptistery, when the chief entrance
was on this side. In 1154 the portico was converted into two chapels.
The apse to the left is enriched with admirable Mosaic of the 5th cent., con-
sisting of gold arabesques on a blue ground. Over the door to the Baptistery
is a Crucifixion, a relief in marble, from an altar presented by G. de
Pereriis in 1492. — The outer door of the portico is adorned with two
ancient columns of porphyry with their architrave. It leads to the Covrt,
which was restored in 1875-85.

The basilica of *San Giovanni in Laterano (PI. Ill, 28), 'om-
nium wrbis et orbis ecclesiarum mater et caput1, was the principal
church of Rome after the time of Constantine the Great (p. xxxiii).
The emperor presented Pope Sylvester I. with a large palace, -which
had hitherto belonged to the wealthy family of the Laterani, and fitted
up a church within it. It was called the Basilica Constantiniana after
its founder, and sometimes Basilica Sancti Salvatoris, or Aula Dei,
as being a second Zion, and gradually became privileged to grant the
most ample indulgences. It was overthrown by an earthquake in
896, but was re-erected by Sergius III. (904-911), and dedicated to
John the Baptist. In 1308 it was burned down, but it was restored
by Clement V., and decorated with paintings by Giotto. A second
Are destroyed the church in 1360, after which it was rebuilt by Ur-
ban V. and Gregory XI. It was again altered by Martin V. (1430),
Eugene IV., and Alexander VI., and modernized by Pius IV. (1560),
by the alterations of F. Borromini (1650), and by the facade o
Al. Oalilei (1734). In 1875-85 the church was enlarged by moving
back the tribuna and choir.

The Principal Facade, by Galilei, is turned to the E., abutting
on the Piazza di Porta San Giovanni (p. 311). "With its portico
(33 ft. deep and 196 ft. long) and the open loggia above it, it is
one of the best of this description in Rome. From the loggia the Pope
used to pronounce his benediction on Ascension Day. Of the five
entrances the Porta Santa is walled up and is opened only in the
year of jubilee. The central entrance has two antique bronze doors
adorned with garlands, etc. To the extreme left is an ancient statue
of Constantine the Great, found in his Therm* (p.T177).

The Facade or the S. Transept, looking on the Piazza di San
Giovanni in Laterano (p. 302), is also adorned with a portico, built
by Sixtus V. in 1586. The caps of the small campanili, standing far
apart, were added by Pius IV. The vestibule below , to the right,
contains a bronze statue of Henri IV of France, by Nie. Cordieri
(PI. 12). — Five important Councils have been'held in this church,
viz. those of 1123, 1139, 1179, 1215, and 1512.

304 ///. Southern ytt3rt«WriWMB; i. The Lateran:

Interior. The Nave (426 ft. in length), flanked by double aisles,
is borne by twelve pillars, the work of Borromini, partly enclosing
the ancient columns. In the niches are the Twelve Apostles, of the
school of Bernini; reliefs by Algardi. Over these are the figures of
twelve prophets. The gorgeous ceiling, said to have been designed
by Michael Angelo, is more probably by Giacomo della Porta. The
richly inlaid pavement was a gift of Martin V. (Colonna). On the
right and left at the end of the nave are the only two ancient granite
columns now visible. Below, in front of the Confessio, is the hand-
some monument of Pope Martin V. (d. 1431), in bronze, by Simone
di Oiov. Ghini. — In the centre of the Transept, which is raised
by four steps, is the *Canopy, a beautiful Gothic work by Oiov.
di Stefano (1369; restored in 1851), with paintings by Barna da
Siena (d. 1387), but freely restored. It contains numerous relics,
including, it is said, the heads of SS. Peter and Paul. Below it is
the high-altar (altare papale), at which the pope or a substitute
named by him alone reads mass, containing a wooden table from
the catacombs which is said to have been used as an altar by St.
Peter. The transept was restored under Clement VIII. by Giac. delta
Porta (1603) and adorned with frescoes. Here to the right are two
fine columns of giallo antico; and above is the richly decorated Organ.
To the left is the large Altar of the Sacrament, with four ancient
columns of gilded bronze, which belonged to the original basilica.
— The chapel to the left of the choir (PI. 6) contains a portrait of
Martin V. by Scip. Gaetano, and an altar-piece by the Cav. d'Arpino.
Carved choir-stalls by Girol. Bainaldi. To the right of the choir is
the tomb of Innocent III., by Lucchetti; the tomb of Leo XIIL, by
the same artist, is to be erected opposite, to the left of the choir. —
In the chapel farther to the right, on the left side, is the monument
of the philologist Laurentius Valla (d. 1465), a canon of this church.

The walls and floor of the Choir, which was enlarged in 1884,
are covered with slabs of polished marble. To the right and left are
three balconies with gilded railings. The ancient Apse, moved back
at the extension of the choir, contains precious *Mosaics by Jacobus
Torriti (p. lxiii; 1290 ; or perhaps older works restored by Mm), re-
presenting the Saviour enveloped in clouds ; below, at the sides of
a cross, (1.) the Virgin, at whose feet Nicholas IV. kneels, SS. Francis,
Peter, and Paul, and (r.) John the Baptist and SS. John, Andrew,
and Anthony. — In the Ambulatory are two mosaic tablets, with
inscriptions relating to the construction of the church, and statues
of Peter and Paul, of the 10th century. — Adjoining the ambulatory
is the Sacristy, the inner bronze doors of which date from 1196. It
contains the monument of Fulvius Ursinus (d. 1600) ; (1.) an An-
nunciation by Marcello Venusti after a drawing by Michael Angelo.

In the Goaedaroba (closed) are preserved a statue of John the Baptist
in wood by Dunutello , the cartoon of Raphael's Madonna di Casa d'Alba
(at St. Petersburg), and a small votive picture of Fedra Inghirami who
was accidentally killed at the Arch of Titus. '

Palazzo del Laterano. ROME. III. Southern Quarters. oUO

Aisles. At the first pillar on the right (PI. 10), *Boniface VIII.
between two cardinals proclaiming the first jubilee (1300), the in-
jured fragment of a fresco by Oiotto. On the next pillar is the
funeral inscription of Pope Sylvester II. (d. 1003). On the Right:
The 2nd chapel (PI. 8) belongs to the Torlonia family and is richly
decorated with marble and gilding; over the altar, Descent from
the Cross, a marble relief by Tenerani (a custodian opens this and
other chapels, V2 &•)• The 3rd chapel (PI. 9), belonging to the
Massimi, constructed by Oiac. della Porta, contains the Crucifixion,
an altar-piece by Sermoneta. Above the opening looking into the
chapel is a relief of St. James, which adorned an altar from the studio
of Andrea Bregno, presented by G. de Pereriis (the other portions
of the altar are in the cloister). Farther on, the monument (PI. 11) of
Card. Guissano (d. 1287; the older portions by the Cosmati); that
of Card. Ranuccio Farnese, by Vignola (at the back of the last pier
of the nave), and that of the Portuguese cardinal Ant. de Chlaves
(d. 1447), by Filarete, removed during the alterations of 1650 hut
afterwards pieced together again. — On the Left: The 1st chapel,
that of Sant' Andrea Corsini (PI. 1), designed by Al. Galilei in
1734, contains four ancient porphyry columns and a large vessel of
porphyry from the portico of the Pantheon, in front of the bronze
figure of Clement XII. (Corsini, d. 1740); the walls sumptuously
inlaid with precious stones. Below the chapel is the burial-vault of
the Corsini, with a *Pieta by Antonio Montauii (or more probably
Bernini, though not in his usual style).

The sacristan conducts visitors from the last chapel of the S.
aisle into the interesting *Cloistess ('Chiostro'), constructed in the
13th cent, by Vassallettus (comp. p. 399), with numerous small spiral
and inlaid columns (p. lxii). Various fragments from the old church
are deposited in the passages. The monastery was founded at the
end of the 6th cent, by Benedictines from Mte. Cassino.

The N. side of the Piazza di San Giovanni in Laterano is oc-
cupied by new buildings. Between the Via Ariosto and the Via
Tasso, which begin here, lies the Casino Massimi (PI. II, 28 ; not
visible from the piazza), the only relic of the Villa Massimi. Three
rooms in this are adorned with Frescoes from the three Italian poets
Dante, Ariosto, and Tasso, painted for Prince Camillo Massimi in
1821-28 by the German artists Jul. Schnorr, Ph. Veit, A. Koch,
Overbeck, and Fuhrich (admission only on special introduction).

On the E. side of the piazza, adjoining the basilica of San Gio-
vanni in Laterano, rises the —

Palazzo del Laterano (PI. Ill, 28), to which, together with the
Vatican and Castel Gandolfo, the privilege of exterritoriality
was secured by a law of 1871. This was the residence of the
popes from the time of Constantine down to the migration to
Avignon. The old palace was much larger than the present one, and

Bakdkki 20

oUb III. Southern ywu.in.io. mjiuaa. -. ^heLateran:

included the Sancta Sanctorum Chapel (p. 311). After the great fire
in 1308 it lay in ruins, but these were removed, and the new palace
erected by Domenico Fontana, by order of Sixtus V. in 1586. As
it remained unoccupied, it was converted by Innocent XII. into an
orphan- asylum in 1693. In 1843 Gregory XVI. set apart the
palace for the heathen and Christian antiquities for which the
Vatican and Capitoline museums no longer afforded space, and
named it the *Museum Gregorianum Lateranense. The entrance
is in the Piazza di Porta San Giovanni (p. 311), on the E. side of
the palace. Admission, see pp. 150, 151.

On the groundfloor is the so-called *Museo Profano, or collection
of ancient sculptures , including several admirable works. Comp.
Helbig, Antiquities in Rome, vol. i, pp. 465-518. — We cross the
entrance-hall and follow the arcades of the court, to the left, to
the end of the W. wing , where we begin with Room I. (comp.
ground-plan, p. 302).

I. Room. Entrance-wall : 6. Statuette in the style of the Athena
Parthenos of Phidias; 10. Tomb -relief (warrior's farewell); 11.
Education of the young jEsculapius (fountain-relief). Left wall:
13. Two pugilists, named Dares and Entellus (in relief); 15. Bust
of Marcus Aurelius. 20. Roman emperor accompanied by lictors.
The upper part of this relief (now in the Thermae Museum, p. 172)
represents the Temple of Venus and Roma, which was founded by
Hadrian (p. 265), so that the restoration of the emperor's head as
Trajan is erroneous. — In front of the last, 19. Statuette of a girl
(known as Nemesis) ; 26. Nymph giving water out of a drinking-
horn to a boy-satyr (fountain-relief). Right wall: Several excellent
torsos ; 51. Portion of a statue of Artemis, with traces of a deer on
the left arm. In the centre a mosaic with pugilists, from the Thermae
of Caracalla (see 1st floor, p. 310). — II. Room: interesting archi-
tectural fragments, especially from the Forum of Trajan. 86, 130,
168. Fragments of a frieze, in the centre of the walls of the en-
trance, the egress, and that on the right. — III. Room : by the
entrance-wall : 255. Statue of ^Esculapius. Right wall : 256. An-
tinous (p. liv ; head modern), found at Ostia. — IV. Room. Entrance-
wall: 273. Roman female portrait. *278. Medea with the Peliades
preparing the cauldron for the sacrifice of Pelias; the sorceress is
the figure on the left (a Greek relief). 291. Statue of Germanicus.
Right wall: 319. Statue of Mars. Wall of egress: 348. Replica
of the reposing Satyr of Praxiteles (p. xlix). On a cippus : 352.
Bust of a Youthful Member of the Claudian Oens. In the centre,
382. Beautiful basin of lumachella (a kind of shell-marble).

We now cross the passage to the —

V. Room. Rear wall: 394. Roman portrait-bust; *396, 405.
Hermse of Pan ; 407. Cinerary Urn with the head of Medusa and
representation of a cock-fight. In the centre : 399. Stag, in basalt,
which originally bore a figure of Artemis. — VI. Room : collection

Museum Oregorianum. ROME. III. Southern Quarters. 307

of sculptures from Cerveteri, the ancient Caere (p. 433). Entrance
wall : 427. Circular altar with Pan and two dancing Howe ; on it,
428. Colossal portrait-head (perhaps Augustus) ; 433. Statue of an
emperor, head modern. Eear wall: 435, 437. Colossal sitting
figures of Tiberius and Claudius ; between them , 436. The younger
Agrippina (?). Wall of egress: 439. Statue of an emperor. In
front of it : 442. Relief with representation of the deities of three
Etruscan cities (Tarquinii, Volci, Vetulonia). On the pillar be-
tween the windows : 445. Female portrait-statue (perhaps Dru-
silla). In the centre, 447, 450. Two sleeping Sileni (from a foun-
tain) ; 448. Altar with representation of sacrifice. — VII. Room. On
the right : *462. So-called Dancing Satyr, found near Santa Lucia
in Selce ; more probably Marsyas endeavouring to pick up the flutes
thrown away by Athene, and recoiling on the appearance of the
goddess, from a group by Myron (p. xMi ; the arms and cymbals
are erroneously restored). Opposite the entrance : on a revolving
pedestal, **476. Sophocles, one of the most beautiful ancient por-
trait-statues in existence, found at Terracina in 1838. 'In the
statue of the poet the sculptor has endeavoured to produce a type
of perfect manhood, to portray the self-reliance of genius and the
unruffled dignity of manly beauty ; and he has accomplished his
object by the general grandeur of his design, the easy attitude and
noble symmetry of the figure, and the expressive attitude of the
head ; while the broad and lofty forehead , the gentle and imag-
inative eye, the firm cheek, and the earnest but benevolent mouth
complete the picture of a man who has attained the zenith of
human excellence and happiness.' To the right: 475. Portrait of a
Diadochos. — VIII. Room. Entrance-wall : left, *487. Relief of a
poet, with masks, and a Muse"; to the right, above, 496. Small
head of a sleeping nymph; 497. Small head of a victorious athlete.
Left wall : 515. Fragment of a Roman relief. In the centre : *534.
Statue of Poseidon, found at Porto. — IX. Room, containing nu-
merous architectural fragments brought to light by the excavations
in the Forum and the Via Appia. In the centre: 656. Triangular
Ara with Bacchantic dances. — X. Room : chiefly sculptures from
the tombs of the Haterii, on the Via Labicana near Centocelle.
Entrance-wall: 675, 677. Portrait-busts; farther on, 676. Relief
of a large tomb, with powerful lifting-machine adjacent. Right
wall : 691. Relief of a dead woman lying in state, surrounded by
mourners. Wall of egress : 719. Relief with representation of Roman
buildings, among which the Arch of Titus and the Colosseum are
distinguishable. Above it, 721. Relief with Mercury (broken), Ceres,
Pluto, and Proserpine. Between the window and the exit, *686.
Triangular pillar, with a candelabrum wreathed with roses on two
of the sides. In the centre : 740. Cupid on a dolphin.

We next cross a second passage to the —

XI. Room. The sculptures are chiefly from the tombs on the Via

20*

308 III. Southern Quarter*? KWVi-n . i. The Lateran:

Latina (p. 391). Entrance-wall : to the right, 751. Sarcophagus with.
Bacchic relief. Right wall : 765. Sarcophagus with pugilists ; 769.
Sarcophagus with Adonis (on the lid, the history of GEdipus). Wall
of egress : 783. Greek votive relief (two men and a stripling convers-
ing); below, 782. Fragment of a Nereid. In the centre : 792. Large
sarcophagus with triumphal procession of Bacchus. — XII. Room.
Entrance-wall : 799. Sarcophagus with the story of Orestes (death
of jEgistheus, etc.); 808. Head of Augustus. Wall of egress: 813.
Sarcophagus with the destruction of the Children of Niobe. In the
centre : 831. Circular Ara from Veii, an imitation of the Puteal
Libonis in the Roman Forum. — XIII. Room. Entrance-wall : 840.
Tomb-relief of Ulpia Epigone ; 842. Relief of a Titan fighting ; 846.
Portrait Statue of C. Caelius Saturninus. Right wall : Portions of
colossal statues in porphyry. Wall of egress : 866. Roman tomb
relief; *868. Relief, Pylades supporting the exhausted Orestes. In
the centre : 882. Sarcophagus of P. Caecilius Vallianus, with the
representation of a funeral-banquet. Upon it, 885. Three-sided
Candelabrum Stand with Pluto, Neptune, and Proserpine. —
XIV. Room. Entrance- wall : 887. Fragment of a Greek votive-re-
lief (Aphrodite ?). Opposite the entrance : 902. Statue of a captive
barbarian, unfinished, interesting on account of the 'copy-points'
left by the sculptor to guide the workman's chisel. Adjacent, 895.
Sarcophagus of L. Annius Octavius, with representation of bread
making ; above is the inscription : Evasi, effugi, Spes et Fortuna
valete! Nil mihi vobiscum est, ludificate alios. By the right wall,
*892. Mosaic with representation of the floor of an unswept dining-
room ('Opus Asarotum') and masks, by Heraclitus, found on the
Aventine in 1833. — Room XV and the following are devoted to
the yield of the excavations made in 1861-69 at Ostia. In the glass-
cabinets under the windows are lamps, terracottas, fragments of
glass, ivory articles, etc. On the pillar, mosaic from a niche, with
Silvanus ; on each side fragments of slabs of terracotta. Wall of
egress : (r.) 972. Head of Mithras; 975. Small Female Head, per-
haps of a nymph ; 977. Tomb-relief of the Eques T. Flavius Verus.
— XVI. Room. Lead pipes from ancient aqueducts. 1062-66.
Paintings from a tomb, with scenes from the lower regions. In the
centre : 1061. Recumbent figure of Attis, of interest for the traces
of gilding on the hair and the crescent ; *1043. Bronze statuette
of Venus.

The entrance to the Christian Museum and the Piotuke Gal-
leky is below the arcades in the left corner, whence we ascend a
staircase (at M. C. on the ground-plan p. 302).

The *Christian Museum was founded in 1854 on the suggestion
of the Padre Marchi and was arranged by him and O. B. de Rossi.
Most of the sarcophagi, dating from Benedict XIV. 's earlier col-
lection in the Vatican, are freely restored and retouched.

Museum Gregorianum. ROME. III. Southern Quarters. 309

The great feature of the museum is the "Collection of Ancient Christian
Sarcophagi, chiefly of the 4th and 5th centuries (comp. pp. lv, lvi, and
403 et seq.). Most of these 'exhibit the same style of continuous narrative
as the works of the late pagan period, uniting several crowded and animated
scenes on the same panel. Visitors, even those most versed in the Scrip-
tures, will find considerable difficulty in identifying the various obscurely
treated events, and the task of recognition is nut always lightened by the
juxtaposition of archetypes from the Old Testament with the corresponding
scenes from the New Testament, as the relation between those is sometimes
force4' (Burckhardt). The explanation of a few of these series of scenes
(e.g. of Nos. 55, 104, 135, 174, 171, given below) will assist the spectator
to interpret most of the others for himself.

Vestibule. Sculptures and architectural fragments, chiefly from Porto.
Straight in front: "55. Large sarcophagus, with two half- length male
figures and two rows of reliefs ; above, Raising of Lazarus, Christ fore-
telling Peter's denial, Moses receiving the tables of the law ; Sacrifice of
Isaac, Pilate washing his hands; below, Moses striking the rock, Daniel
in the den of lions, Jesus reading the law, Healing the blind, Miracle of
the loaves. On the wall, to the left, 56. Bust of Christ, in mosaic; to the
right, 58. Bathing the Infant Jesus, a mosaic from the chapel of Pope
John VII. (705-707) in the former St. Peter's church (freely restored); 57.
Mosaic of Christ enthroned, between SS. Paul and Peter, a copy executed
in the 18th cent, from an original that stood over the tomb of the emperor
Otho II. in the old church of St. Peter.

We then ascend a few steps to the left. By the end-wall, to the
right: 103, 105. Statues of the Good Shepherd; *104. Large sarcophagus,
found near the tomb of the Apostle in San Paolo Fuori in 1838; the
deceased interred in it were probably members of a Roman family of
rank of the beginning of the 5th century. Reliefs : top row, to the left,
Adam and Eve; in the centre, Shield with busts; to the right, Turning of
the water into wine, Miracle of the loaves, Raising of Lazarus; bottom
row, Adoration of the Magi, Healing of the blind man , Daniel in the
lions' den, Peter's denial, Anger of Moses, and Moses striking the rock. —
At the window, 111. Sarcophagus, Israelites crossing the Red Sea. — On
the staircase : to the left, 119. History of Jonah (above, on a smaller scale,
Raising of Lazarus, Water gushing from the rock, Anger of Moses); the
sculpture exhibits a strong affinity witn antique motives, especially in the
subsidiary figures of the fishermen and herdsmen (lound at the Vatican);
135. on the front, Adam and Eve, Moses smiting the rock, Healing of the
blind man, Resurrection of the dead bones, Peter's denial, Healing of the
man with dropsy, Sacrifice of Isaac, Anger of Moses, and Moses striking
the rock; on the leftside, the Men in the fiery furnace; on the right side,
Daniel in the den of lions, Noah in the ark. — Above, to the right, 138.
Christ and the Apostles; to the left, 193. Offerings of Cain and Abel, etc.;
to the right, 146. Raising of Lazarus, etc. To the left, 189. Scenes from the
Old and New Testaments (beside the Sacrifice of Isaac is placed the Rais-
ing of the widow's son of Nain); the busts have been restored. To the
right, '150. Rustic and hunting scenes; to the left, the Good Shepherd, to
the right, Praying figure, interesting from the traces of painting and gilding
(most of the latter now blackened by age), of the 3rd or 4th century. To
the left, 181. Oval sarcophagus, with sculptures showing a strong at'6nity
to antique motives. In the centre, lS3a. Good Shepherds, harvest, and
vintage, found in the Catacombs of Praetextatus (p. 405). To the right, 156.
Orpheus, from Ostia (Orpheus occurs also in paintings in the Catacombs,
comp. p. lix). — To the left, '174. On the front, Christ enthroned among the
Apostles (St. Peter approaches from the right, St. Paul from the lefti, to
the left, Sacrifice of Isaac, to the right, Pilate washing hi* hands; on the
right end, Moses smiling the rock, Christ healing the woman with an issue
of blood; left end, Peter's denial. — To the right: "164. Offerings of Ciin
and Abe), Capture of Peter, Cross with the monogram and two soldiers;
Execution of Paul, Job and his wife (4th cent. ; from the lower church
of San Paolo Fuori). — To the left, "171. Bearing of the Cross, Crown of
thorns, Cross with the monoeram (below which are two soldiers), Capture

310 ///. Southern (JuHrmf ROWS. t. The Lateran.

of Christ, Pilate washing his hands (4th cent. ; from the Catacombs of Santa
Domitilla). — On the staircase-landing: 199. Nativity, Adoration of the Magi ;
198. Ascension of Elijah. — Above, *223. Sitting figure of St. Hippolytus,
from the catacombs near San Lorenzo fuori le Mura; the only antique
portion is the chair, on which is a Greek inscription recording the saint's
achievements and an Easter-table.

The door on the left leads to the upper arcades, where the door opposite
(opened by the custodian on request) leads to the rooms with the copies
of the Catacomb paintings (see below) ; to the right is the entrance to the
room with the large mosaic (see below).

The posterior walls of the three open Arcades present a selection
of Ancient Christian Inscriptions, systematically arranged by De Rossi, an
invaluable aid to the student of Christian archseology. Immediately to the
left of the entrance is the famous inscription of Abercius of Hieropolis
in Phrygia, dating from the reign of Heliogabalus (217 A.D.I, and con-
taining an account of a pilgrimage from Phrygia to Rome. The Christian
origin of this, however, has recently been disputed. — Over the first door
on the right is an inscription in honour of Quirinus (Cyrenius), governor
of Syria, by whom the census at the period of the birth of Christ was
held (Luke I. 2). The other inscriptions are distributed according to arches
thus: i-iii. Elegies on martyrs, etc., of the age of Damasus I. (366-384);
iv-vii. Dated inscriptions (71; 238-557); viii, ix. Inscriptions of doctrinal im-
portance ; x. Bishops, presbyters, deacons ; xi, xii. Other illustrious person-
ages ; xiii. Relatives, friends, etc. ; xiv-xvi. Symbolic and other records;
xvii et seq. Simple epitaphs from various catacombs. Finally, several
Jewish inscriptions (with the seven-branched candlestick and other symbols).

Two rooms (see above) contain copies of pictures from the Catacombs
of St. Calixtus (Cbapel of the Sacrament), Catacombs of St. Priscilla
(Capella Greca), the crypts of Lucina, the Coemeterium Ostrianum, etc.

From the first arcade we pass to the right into a r.iom (PI. A), on the
door of which is a large "Mosaic with 20 full-length figures and 26 busts
of pugilists, found in the Thermae of Caracalla (p. 292) in 1824. This work,
dating probably from the end of the 4th cent, and not from the age of
Caracalla, bears obvious indications of the decline of the art. The original
arrangement of this mosaic, which has been freely restored and supple-
mented, is shown in the drawings on the walls.

The adjoining Picture Gallery contains a few good pictures of
Italian masters, chiefly of the 15th and 16th cent., and a series of
modern paintings mostly presented to Leo XIII.

Room I (PI. A). Dilapidated frescoes from Sant' Agnese fuori le Mura
Two bells of the 13th cent., from St. Peter's and from Santa Maria Mag-
giore; small bell of the 8th cent., from Canino near Viterbo.

Room II (PI. B). In the middle: Mosaic, found near the Palazzo Sora
(p. 227). Entrance-wall: C. Crivelli, s60. Madonna (1482), 61. Madonna with
saints (altar-piece; 1481). 62. Antonio da Murano, Altar-pierce (1469). In the
corner: 64. Benozzo Gozzoli, St. Thomas receiving the girdle from the Virgin,
with predelle (1450). Rear-wall: 65. Fra Filippo Lippi, Coronation of the
Virgin. Exit-wall: 66. St. Jerome, by Giov. Santi, the father of Raphael;
67. Cola deir Amatrice, Assumption, and two smaller paintings (1515); 68-
Spagna, Madonna and saints. Window-wall: 69. Fresco of the Madonna
and saints, from San Lorenzo Fuori.

Room III (PI. C). Entrance-wall : 70. Marco Palmezzano of Forli (pupil
of Melozzo, p. 107), Madonna and saints; 71. Franc. Francia, Annunciation;

72. Palmezzano, Madonna and saints- Rear wall: to the right and left,

73, 74. Fra Bartolomeo, SS. Peter and Paul. Exit-wall: 76. Large copy of
Raphael's Transfiguration (comp. p. 345); 77. Cesare da Seslo, Baptism of
Christ. Window-wall: 78. Venetian School, Entombment. 79. Giulio Romano,
Stoning of Stephen, cartoon for the painting in Genoa.

Room IV (Pl.D). Entrance-wall: 82. Cuvaliere d?Arpino, Annunciation.
Rear-wall : 84. Sassoferralo, Sixtus V. Exit-wall : 86. Laurence, George IV.
of Great Britain. Window-wall: 87. Van Dyck (?), Portrait.

i. Scala Santa. ROME. III. Southern Quarters. 311

Rooms V-VUI (PI. E,F, G, H). Modern paintings, including: Rolland,
M»rtyrdom of St. Gabriel Perboyre; Aldi, Judith; Grandi, Apotheosis of
Leo XIII. — In the last room are some casts from the antique and views
of Rome (fresco) of the time of Sixtus V.

Opposite the N.E. corner of the Lateran is the edifice containing
the Scala Santa. The two-storied portico was erected by Sixtus V.
The Scala Santa is a flight of twenty-eight marble steps from the
palace of Pilate at Jerusalem, -which our Saviour is said to have
once ascended. They were brought to Rome in the period of the
crusades, and may be ascended only on the knees. They are now
protected with wood. The four adjoining flights are for the descent.
At the foot of the steps are two insipid marble groups by Jacometti,
Christ and Judas, and Christ before Pontius Pilate; also a kneeling
statue of Pius IX. At the top of the steps we ohtain a glimpse into
the Sancta Sanctorum, formerly the private chapel of the popes, and
the only part of the old Lateran palace now extant. It was erected
in 1278 by a member of the Cosmas family for Nicholas III., and
contains a Christ in mosaic in the 9th cent, style and another
painted on wood, attributed to St. Luke. — In Holy Week (especially
on Good Friday) the Scala Santa presents an extraordinary spectacle.

To the E. of the Scala Santa is a tribune erected by Bene-
dict XIV. , with copies of the ancient Mosaics from the Triclinium of
Leo HI. , or principal dining-room of the ancient Lateran palace.
These copies are from originals of the end of the 8th cent., which
were destroyed in the pontificate of Clement XII. but were restored
in 1743 from ancient drawings. Their subject is the union of spirit-
ual and temporal power effected by Charlemagne. In the centre,
Christ sending out his disciples; on the left, Christ enthroned
delivers the keys to Pope Sylvester and the banner to the Emp.
Oonstantine ; on the right , St. PeteT presenting the papal stole to
Leo and the banner to Charlemagne (the square blue nimbus was
given to living persons).

Opposite the tribune with the mosaics extends the spacious
Piazza di Pobta San Giovanni (PI. Ill, 31), partly rebuilt, in which
is the entrance to the Lateran Museum (p. 306) and the main facade
of San Giovanni in Laterano (p. 303). — A dusty street leads hence to
theE. to (5 min.) Santa Croee in Gerusalemme (p. 186) ; whilethe Via
Emanuele Filiberto runs N. to the Piazza Vittorio Emanuele (p. 183).

From the Via Emanuele Filiberto a street ascends slightly to the
right to the entrance of the Villa Wolkonsky (PI. II, 31), now called Villa
Companari and almost wholly enclosed by new buildings, but deserving a
visit if time permit, especially in spring, when the roses are in bloom.
The Aqua Claudia (p. 185) intersects the gardens, where also a few ancient
tombs and sculptured fragments are preserved. Admission, see p. 149.

The Porta San Giovanni (PI. Ill , 31) , named after the church,
was erected in 1574, taking the place of the ancient Porta Asinaria,
now built up, which stood a little to the right. Hence to the Cam-
pagna, seep. 391.

312 IV. Bight Banlt, BOMS. a. The Borgo.

The road skirting the town-wall to the left, outside the gate, brings
us in 7 min. to the Amphitheatrum Castrense (PI. Ill, 34), the only struc-
ture of the kind in Rome with the exception of the Colosseum. The
architectural details, including the Corinthian capitals, are of terracotta or
<>f burned brick. The amphitheatre is 57 yds. in length and 41 in breadth.
The interior (uninteresting) is entered by the gate near Santa Croce in Geru-
salemme (p. 186). — Hence to the Porta Maggiore (p. 186), 12 minutes.

IV. Quarters of the City on the Right Bank.

On the right bank of the Tiber are situated two distinct quar-
ters : towards the N. the Borgo, or quarter of the Vatican ; and farther
S., Trastevere. They are connected by means of the long street known
as the Lungara.

a. The Borgo.

Electric Tramway from the Piazza delle Terme or the Piazza Venezia,
see Nos. 6 and 8 in the Appx. — Omnibus from the Piazza di Spagna or
the Piazza del Gesit, see Nos. 20 and 23 in the Appx.

The district between Monte Mario and the Janiculum was known
in antiquity as the Ager Vaticanus, perhaps from a vanished Etrus-
can town Vaticum (?). The plain by the river, notorious for its mal-
aria, was never reckoned as part of the city in ancient times, and
was not enclosed within Aurelian's wall. It was once covered with the
gardens of the emperors, and here Caligula constructed a Circus and
embellished it with a large obelisk. This circus was the scene of
the races instituted by Nero and of his revolting cruelties to un-
offending Christians in the year 65. ('Pereuntibus addita ludibria,
ut ferarum tergis contecti laniatu canum interirent, aut crucibus
adflxi, aut flammandi, atque ubi defecisset dies, in usum nooturni
luminis urerentur.' Tacitus, Ann. xv. 44.) On the ruins of the
ancient walls thus hallowed by the first great martyrdoms at Rome
rose the Church of St. Peter, in the immediate neighbourhood of
which paganism maintained its footing with greater obstinacy than
in any other part of the city. To the N. of the circus were situated
highly-revered shrines of the Phrygian Cybele (Mater Deum Magna
Idaea) and of Mithras , which flourished well into the Christian
period (to the end of the 4th cent.) and were frequently referred to
in later antiquity shortly as Phrygianum and Vaticanum respectively.
Another circumstance which tended to shape the future of this part
of the city was the erection by Hadrian of his gigantic Tomb on the
bank of the river. This monument was afterwards converted into
a tete-de-pont, but at what date is uncertain (perhaps by Honorius
in 405). In 537 it effectually repelled the attacks of the Ostro-
goths, and since that period the Castle of Sant' Angelo (as it was
afterwards called) has been the citadel of Rome, on the possession of
which the mastery over the city has always depended. Around the
Church of St. Peter sprang up a number of chapels, churches, mon-
asteries, and hospitals, and in the pontificate of Symmachus (498-

a. The Borgo. ROME. IV. Right Dank. 313

514) a papal residence also. Foreign pilgrims soon began to establish
settlements here, named scholae, or borghi, of -which in the 8th
cent, four are mentioned in history, viz. those of the Saxons (i. e.
English), the Frisians, the Longobards , and the Franks , who in
time of war formed separate companies of soldiers. In order to pro-
tect the whole of this region against the predatory incursions of the
Saracens, Leo IV. surrounded it, in 848-52 , with a wall 40 ft. in
height, and thus became the founder of the Civitas Leonina named
after him. This wall was repeatedly destroyed during the conflicts
of the middle ages, as on the occasion of the retreat of Henry IV. be-
fore Robert Guiscard in 1084, and when the Castle of Sant' Angelo
was destroyed by the Romans in 1379. A new era in the history of
the Borgo began with the return of the popes from Avignon ; streets
gradually sprang up ; and the walls were considerably extended.
Eugene IV. and Sixtus IV. were particularly active in developing
the Borgo, and it attained the height of its prosperity in the ponti-
ficate of Julius II. and Leo X. at the beginning of the 16th cen-
tury. Paul III. and Pius IV. renewed the fortifications under ap-
prehension of an attack by Saracenic rovers. Ant. da Sangallo began
by the construction of the Porta Santo Spirito on the S. (1545) ;
Michael Angelo raised the imposing Belvedere bastion (1547) and
provided the plan for the remaining fortifications which extended
the limits of the Borgo mainly on the N. (Porta Angelica ; Borgo
Angelico) in 1560-70. The papal court, however, was unable per-
manently to attract the business of the city to its neighbourhood,
and a sparse and poor population, engaged in the humbler branches
of trade, now lives beneath the shadow of the most famous church
and the largest palace in Christendom. Down to the pontificate of
Sixtus V. the Borgo belonged to the popes, and lay without the
bounds of the municipal jurisdiction ; but that pope incorporated
it with the city as a '14th Rione', and in the plebiscite of 2nd Oct. ,
1870, the inhabitants of the Borgo declared their desire not to be
separated from the rest of the city. The walls on the N. side, in-
cluding the Porta Angelica, were pulled down when the Prati di
Castello began to be built over soon after 1880.

The principal channel of communication with the Vatican quarter
is afforded by the Ponte Sant' Angelo (PL I, 12), originally erected
by Hadrian to connect his tomb with the city in A.D. 136, and named
after him Pons JElius. At the beginning of the bridge , on the site
of two old chapels, Clement VII. erected in 1530 statues of St.
Peter by Lorenzetto, and St. Paul by Paolo Romano (1464). The ten
colossal statues of angels , formerly much admired, were executed
from Bernini's designs in 1688, and vary considerably in point of
artistic value (p. lxxiv). In 1892-94, during the Tiber regulation
operations, the bridge was completely restored. Only the three
arches in the middle, are antique, new ones having been added at
each end. The temporary iron Suspension Bridge, erected a little

314 IV. Right Ban*. TOHf. a. The Borgo :

lower down the river during the alterations, has been allowed to
remain, and is at present used by the tramway-cars. A new bridge,
the Ponte Vittorio Emanuele, is designed to continue the direct line
of the Oorso of that name, but its construction cannot begin until
the E. wing of the Ospedale di Santo Spirito (p. 317) has been
pulled down.

The *Castello Sant' Angelo (PI. I, 12), which was originally the
tomb erected in A.D. 136 by Hadrian for himself and his successors
(Moles Hadriani), was completed in 139 by Antoninus Pius. On a
substructure, 114 yds. square, rises a cylinder of travertine,
80 yds. in diameter, once encrusted with marble , of which cover-
ing no trace now remains. Around the margin of the top stood
numerous statues in marble. This cylinder was probably once sur-
mounted by another of smaller dimensions, on which a colossal statue
of Hadrian, conjecturally standing on a quadriga, was placed. The
head mentioned at p. 354 is supposed to have belonged to this statue.
The total height was about 165 ft. From Hadrian to Caracalla
(d. 217) all the emperors and their families were interred here.
When the Goths under Vitiges besieged Rome in 537, after its
capture by Belisarius, the general of the eastern emperors, the tomb
was converted into a fortress and the marble statues on the summit
were hurled down on the besiegers. The city was at last retaken by
Totila, successor of Vitiges, after another terrible siege in 548. On
the fall of Totila in 552, the citadel passed into the power of Narses,
the successor of Belisarius. In 590 Gregory the Great, while con-
ducting a procession to pray for the cessation of the plague then
raging, beheld the Archangel Michael sheathing his sword above the
Castello Sant' Angelo , in commemoration of which Boniface IV.
erected the chapel of Sanctus Angelus inter Nubes on the summit.
This was afterwards replaced by the marble statue of an angel by
Montelupo (p. 316), and in 1752 by the present bronze statue of the
Archangel by Verschaffelt. From 923 onwards the edifice was always
used by the party in power as a stronghold for the purpose of over-
awing the citizens. In 1379 it was almost entirely destroyed by the
Romans. From the time of Boniface IX. (for whom it was restored
by Niccolb dCArezzo) downwards the castle was held by the popes,
who seem to have caused the construction of a covered passage
(passetto) leading from the Vatican even before the close of the
13th century. This was restored by Alexander VI. The castello
was further extended by Julius II. In 1527 Clement VII. sustained
a terrible siege here, by the troops of Charles V., on which occasion
Benvenuto Cellini asserted he had thence shot the Conne"table de
Bourbon. The outworks were constructed by Urban "VIII. A thorough
restoration of the structure, begun in 1901 under the superinten-
dence of Lieut.-Col. Borgatti, is in progress. A collection illustrat-
ing the history of Italian engineering is to be exhibited in the
interior.

CasUllo San? Angela. ROME. IV. Right Bank. 315

10 20 30 to

Moles Hadriani.

P-i

Pont(T5rA^elo

CasteDo Sant' Angelo.

316 IV. Right BanTc. HOME. a. The Borgo:

The Entrance is opposite the Ponte Sant' Angelo (adm. see pp. 150,
151). A guide conducts parties every i/2 hr. Illustrated guide by Borgatti
(see p. 315; 1902) 1 fr.

We first enter a narrow passage leading round the circular portion of
the mausoleum on the top of the old square substructure. On the left is
a small museum with busts of Hadrian and Antoninus Pius, fragments of
the marble frieze which encircled the ancient upper building, and a model
of the entire monument (after Borgatti). The mausoleum itself is entered
by means of a modern approach above the ancient main gate. We first enter
a Square Chamber, with a recess for a colossal statue (1 on the section
p. 315), and thence follow a spiral passage (2) which gradually ascends to
the Tomb Chamber (3) in the centre. This was the last resting-place of
Hadrian and his family, and still contains four niches for the urns. — We
then ascend a modern staircase and pass a small court (Cortile d'Onore) with
Raffaello da Montelupo's marble statue of an angel (see p. 316). On the left
are two rooms (4) with papal coats-of-arms, inscriptions, and sketches of the
Castello. Opposite the staircase is the Chapel of Clement VII. with a facade
designed by Michael Angelo, containing a fine relief of the Madonna by

Montelupo (y). — We then ascend to the Loggia of Julius II. (5), Here we

find the entrance to the former Apartments of the Popes. The first (Salone
del Consifflio, 6) is embellished with frescoes by Perin del Vaga (History of
Alexander the Great) and a rich stucco ceiling. The figure of the senator
to the right of the entrance is wrongly described as that of Piospero Fari-
nacci, the advocate who defended Beatrice Cenci (p. 232). The Camera del
Perseo (on the right), the private apartment of Paul III., is decorated with
a fresco-frieze by Perin del Vaga (Story of Perseus). A frieze by the same
artist (Story of Psyche) adorns the Bala di Amore e Psiehe, a bedchamber
with a gorgeous carved and gilded ceiling. From the Camera del Perseo
a small staircase descends to the Pope's bathroom, ornamented with stucco
and grotesques. Returning to the Salone del Consiglio, we traverse a narrow
passage leading to a room (7) with a tasteful stuccoed ceiling by Giv. Ser-
moneta (marine deities) and remains of frescoes. — A narrow staircase
ascends hence, round the papal treasure-room (8; with an enormous cassone,
bound in metal, of Julius II. and carved panel-work of Paul III.), to the
Platform, which commands a beautiful view of St. Peter's, etc. — Return-
ing to the Loggia, we are thence conducted to a number of gloomy dungeons
in the E. part of the fortress, where Beatrice Cenci, Benvenuto Cellini,
and others are said to have been incarcerated.

A quay (Lungo Tevere di Castello) leads to the right from the en-
trance of the Castle of Sant' Angelo to the new quarter on the Prati
di Castello, a congeries of long and regular rows of tasteless lofty
houses. Facing the end of the Ponte TJmberto (p. 213) a large Court
of Justice (PI. I, 12, 15) is now in process of building, from the
plans of G. Calderini. In front of its N. facade is a Statue of Cavour,
by Galletti, unveiled in 1895 ; the groups on the pedestal represent
Thought (to the right) and Action (to the left). — Farther to the N.,
in the mtdst of a new and attractive-looking villa-quarter, is the
handsome basilica of San Gioacchino (PI. I, 11), founded in 1888 to
commemorate the jubilee of Leo XIII.'s ordination as priest, and
richly adorned with mosaics, granite columns, and other embellish-
ments. The architect is R. Ingani. — At the N. extremity of the
city are three extensive Barracks.

Electric Tramway and Omnibuses from the Prati di Castello. see Nos.
8 and 21 in the Appendix.

The Castle of Sant' Angelo is adjoined on the W. by the Piazza
Pia (PI. I, 12), whence four streets diverge. In the centre, to the

Palazzo Oiraud. KUMJi. IV. Bight Bank. 317

right and left of the fountain, are the streets called the Borgo Nuovo
(originally constructed in 1499 as the 'Via Alessandrina' by Pope
Alexander VI.) and the Borgo Vecchio; to the left, by the river, the
Borgo Santo Spirito ; to the right, the Borgo Sant' Angelo.

The usual route to the Vatican is by the Borgo Nuovo. To the
right in this street is the church of Santa Maria Traspontina (PI. I, 9),
erected in 1566. Farther on, to the right, in the small Piazza Scossa
Cavalli, is the *Palazzo Giraud, now the Palazzo Torlonia, erected
by Ant. Montecavallo in 1496-1504 for Card. Adriano da Corneto.
The facade is a close reproduction of that of the Cancelleria (p. 226),
and Bramante's share in designing this palace is probably limited to
the architecture of the inner court. The poor portal dates from the
18th century. — To the left, in the Piazza Scossa Cavalli, is the
Palazzo dei Penitenzieri, built about 1480 by Card. Horn, delta
Bovere and decorated by Pinturicchio, but now in a neglected con-
dition. On the first floor are an excellent ceiling-painting of mytho-
logical scenes, and a chapel, founded by Card. Alidori, with a Renais-
sance ceiling. At the S.E. corner of the Piazza rises the church of
San Oiacomo Scossa Cavalli. Opposite, on the W. side, the Palazzo
dei Convertendi, partly built by Bramante for the Caprini family
from Viterbo, and purchased in 1517 by Raphael. The architectural
style resembled that of the Pal. Vidoni (p. 224), but is quite dis-
guised by later alterations. On the first floor is the room where
Raphael is supposed to have died.

To the right in the Borgo Nuovo, farther on (Nos. 101-105), is
the Pal. Bieciardi, built for Giac. da Brescia, the physician of Leo X. ,
from a design by Bald. Peruzzi(?). We then proceed straight to the
Piazza Busticucci (PI. I, 19), which forms a kind of entrance-court
to the Piazza di San Pietro.

The Borgo Santo Spirito, issuing from the Piazza Pia (p. 316),
terminates at the S. colonnade of the piazza of St. Peter. To the
left in this street, by the river, is the spacious Ospedale di Santo
Spirito (PI. I, II, 9). The building, with its striking octagonal
dome, dates from the time of Sixtus IV. and is one of the most
important examples of the early Renaissance in Rome. Frescoes of
scenes from the life of Sixtus adorn the wards of the hospital. In
the chapel are early-Renaissance pictures of the twelve Apostles.
The institution was founded by Innocent III. and embraces a hos-
pital, a lunatic asylum, a foundling institution (shown 2-4 p.m. ;
permesso at the office on the first floor, or in the library), a home
for girls, a refuge for the aged and infirm , and a valuable medical
library {Biblioteca Lancisiana; adm., see p. 146). The three depart-
ments first mentioned can accommodate 1000, 500, and 3000 in-
mates respectively.

The 'borgo', or settlement, of the 'Saxons' or English once lay
here (comp. p. 313), and its name is preserved in that of the church

olo IV. Right acinic. ivuiun,. a. rtu-mu di San Pietro.

of Santo Spirito in Sassia (PI. II, 9), farther on, to the left, built by
Antonio da Sangallo the Younger, under Paul III. The facade was
added by Mascherino under Sixtus V. This church belongs to the
adjoining hospital and contains nothing noteworthy, except a bronze
ciborium, ascribed to Palladio, over the altar. The brick campanile,
founded by Sixtus IV., with its corner-pilasters, is 'perhaps, in
its virile simplicity, the noblest tower of the early Renaissance'.

To the left, at the end of a side-street, rises the Porta Santo
Spirito, whence the Lungara leads to Trastevere (see p. 368).

Near the colonnades , on the right, is San Lorenzo in Piscibus
(PI. I, 9), a church of early origin, rebuilt in 1659; on the left is the
small church of San Michele in Sassia (PI. II, 9), formerly the church
of the Frisians (p. 313), rebuilt in the 18th cent., with the tomb of
the painter Raphael Mengs (d. 1779), the friend of Winckelmann.

The **Piazza di San Pietro, the imposing space in front of St.
Peter's, is in the form of an ellipse, adjoined by an irregular quadri-
lateral on the side next the church. It is enclosed by the huge
colonnades erected in 1655-67 by Bernini. The length (including
the Piazza Rusticucci) to the portico of the church is 366 yds. ;
greatest breadth 260 yds. Each of the colonnades contains four
series of Doric columns. Three covered passages, the central of which
has space for two carriages abreast, are formed by 284 columns and
88 piers. On the balustrades above are placed 162 statues of saints
in Bernini's style. The cost of the construction amounted to 850,000
scudi (182,000 J.); the pavement, laid by Benedict XIII., alone cost
88,000 scudi. The effect is striking, and the piazza forms a fitting
approach to the largest church in Christendom.

The great Obelisk in the centre of the piazza, which is destitute
of hieroglyphics , was brought from Heliopolis to Rome by Caligula
and placed in the Vatican Circus , where it stood upon the 'spina'
( comp. p. 312). It is the only monument of the kind at Rome which
has never been overthrown.

Under Sixtus V. in 1586 the obelisk was removed on rollers from its original
position, and erected on 10th Sept. on its present site under the superintendence
of Domenico Fontana, who estimated its weight at about 320 tons. Represent-
ations of this extremely difficult undertaking are frequently seen. It is related
that Fontana in the construction of his apparatus had omitted to allow for
the tension of the ropes produced by the enormous weight, and that at the
most critical momen1 , although silence was imposed on the bystanders
under pain of death, one of the 800 workmen, the sailor Bresca of San Remo,
shouted : 'Acqua alle funi !' (water on the ropes), thus solving the difficulty.
As a reward, his relatives (of Bordighera, near San Remo) were granted the
privilege of providing the palm-branches for St. Peter's on Palm Sunday.

On the pavement round the obelisk is placed an indicator of the
points of the compass. At the sides are two handsome Fountains,
45 ft. in height, the one next the Vatican erected by Maderna, the
other under Innocent XI. On each side, between the obelisk and
the fountains , is a round slab of stone indicating the foci of the
radii of the colonnades, each series of which appears thence as one.

Gi">pra.ph.Anf.t^dt "or.

^— ±^-^kj

A*?eW PALAZZO PONTIFICIO

Basilica di S.Pietro

Walter* D<bes,Lffi]Jzi?;

b. St. Peter's. ROME. IV. Right Bank. 319

At the sides of the steps leading to the portico of St. Peter's, formerly
stood the statues of SS. Peter and Paul which are now at the
entrance to the Sacristy (p. 327), and were replaced under Pius IX.
by works of De Fabris and Tadolini.

At the end of the colonnade to the right is the Portone di
Bronzo, the entrance to the Vatican, where the Swiss guard is sta-
tioned (p. 330).

b. **St.'Peter's (San Pietro in Vaticanoj.

The Church of St. Peter, like San Giovanni in Laterano, San
Paolo, Santa Croce, Sant' Agnese, and San Lorenzo, is said to have
been founded by the Emp. Constantine at the request of Pope Syl-
vester I. (p. xxxiv) . It was erected in the form of a basilica with
nave, double aisles, and transept, on the site of the circus of Nero,
where St. Peter is said to have been buried, and it contained the
brazen sarcophagus of the apostle. The church was approached by
an entrance-court with colonnades and was surrounded with smaller
churches, chapels, and monasteries. The interior was sumptuously
decorated with gold, mosaics, and marble. At Christmas, in the
year 800, Charlemagne received here the Roman imperial crown
from the hands of Leo III., and numerous emperors and popes were
subsequently crowned here.

In the course of time the edifice had at length become so damaged
that Nicholas V. (p. lxiv) determined on its reconstruction, and in
1452 began the tribune, from the design of the Florentine Bernardo
Rossellino. According to this design, the church was to have the
form of a Latin cross (i.e., with one arm longer than the others),
and the choir was to be rounded internally, and to form half of a
hexagon externally. The proportions were so adjusted that the
choir and the transept completely enclosed the corresponding parts
of the old church. The walls had risen to a height of 4-5 ft. only
when the work was interrupted by the death of the pope (1455).

The work was not resumed till 50 years later, when a new
impulse was given to the undertaking by the idea of Julius II. to
erect a tomb for himself during his own lifetime (p. lxvi), for which,
as there was no sufficient room in the church , it was proposed to
add a chapel. For this proposal was next substituted another, that
the church itself should be altered, and that the beginning of Ros-
sellino's building should be utilised; but this last suggestion was
afterwards abandoned as being likely to interfere with the independ-
ence of the work, and it was at length resolved to erect an entirely
new edifice. The tradition, that Julius II. had invited a number of
architects, including Oiuliano da Sangallo, to submit designs, and
that Beamante , who came from Lombardy, was the successful
competitor, is probably true.t The numbers of sketches and designs

+ The original of Bramante's ground-plan is preserved in the collec-
tion of architectural drawings in the Ufflzi at Florence.

320 IV Bight Ba*nk. RttlVfE-. 6. San Pietro

preserved in the collection of drawings iu tlie Ufflzi at Florence
testify to the enthusiasm and zeal with which the various masters
entered the lists, and particularly to the assiduity with which Bra-
mante revised, corrected, and perfected his designs. His aim seems
to have been to crown a substructure like the Basilica of Constan-
tine (p. 264) with a superstructure like the Pantheon. He intended
the new church to be in the form of a Greek cross covered with a gi-
gantic central dome, with rounded choir and transepts, above which *
there were to be four smaller domes (comp. Plan). The foundation (
stone was laid on 18th April, 1506, in the presence of 35 cardinals, <
under the choir-pillar of St. Veronica (No. 4 on the large plan). ;

This plan, which had the merit of majestic simplicity, was, it is \
well known , not adhered to. During the last year of Bramante's f
(d. 1514) life, Oiuliano da Sangallo (d. 1516) was entrusted with
the superintendence of the work, and was assisted by Raphael and
Fra Oiocondo da Verona (d. 1515). The great age of the first and
the third, and the early death of Raphael (d. 1520), were unfavour-
able to the work, and the original plan was much altered, the masters ,
being divided between the Greek and Latin form of cross. The next
directors of the work were Antonio da Sangallo the Younger (after 1518),
Baldassare Peruzzi of Siena (after 1520), and Michael Angelo
(after 1547). This last distinguished himself by rejecting the inno-
vations of Ant. da Sangallo, and rescuing Bramante's ground-plan.
He strengthened the pillars of the dome, simplified the form of the
aisles, and planned a porch borne by ten columns, and terminating
in a pediment, though this last part of his design was afterwards
abandoned. Michael Angelo was most fortunate with his construction
of the dome. He completed the drum of the dome, and left be-
hind him drawings and models for the completion of the work up to
the lantern. The dome of St. Peter's is thus the completion of the
artistic idea which had been conceived 150 years before by Brunel-
leschi, though in the dome of the cathedral at Florence he prac-
tically did little more than demonstrate its technical possibility. The
vast dimensions of Michael Angelo's dome render doubly marvel-
lous its airy and symmetrical appearance ; and it still remains an
unsurpassed model.

After the death of Michael Angelo in 1564 the building of the
church was continued by Vignola and Giacomo della Porta, the latter
of whom was charged with the completion of the dome. In 1606
the church was completed with the exception of the facade, when
Paul V. introduced a momentous alteration. Reverting to the idea
of a Latin cross, he caused the nave to be lengthened, and the pre-
sent weak and unsuitable facade to be erected by Carlo Maderna.
The effect of the dome, as contemplated by Michael Angelo, is thus
entirely lost except from a distance ; from the spectator standing
in the piazza of St. Peter the drum supporting the dome vanishes
behind the facade. Bernini, who succeeded Maderna in 1629,

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in Vaticano. ROME. IV. Right Bank. 321

finished the building. He designed two campanili to be erected on
each side of the church , but the only one which was built had to
be removed owing to the insecurity of the foundation.

The new church was consecrated by Pope Urban "VIII. on 18th
Nov., 1626, the 1300th anniversary of the day on -which St. Syl-
vester is said to have consecrated the original edifice. — By the end
of the 17th cent, the cost of building St. Peter's had amounted to
upwards of 47 million scudi (about 10,000,000^.), and the present
expense of its maintenance is about 7500J. per annum. The new
sacristy, erected by Pius VI., cost 900,000 scudi (about 192,000z.).

The result of these various vicissitudes is that St. Peter's is the
largest and most imposing, if not the most beautiful church in the
world; its area is about 18,000 sq. yds., while that of the cathedral
at Milan is 12,790, St. Paul's at London 9350, St. Sophia at Con-
stantinople 8150, and Cologne Cathedral 7400 sq. yds.

The dimensions are variously stated. The following measurements are
inscribed upon the pavement of the nave in 'palms', here converted into
yards for convenience of comparison. Length of the interior 205 yds.,
or including the walls 212 yds.; length of St. Paul's in London 173 yds.;
cathedral at Florence 163 yds. ; cathedral at Milan 148 yds. ; San Paolo
fuori le Mura 139 yds.; St. Sophia at Constantinople 118 yds. — Accord-
ing to the measurements of Carlo Fontana, the total length of St. Peter's,
including the portico, is 232 yds.; height of nave 151 ft.; breadth of
nave in front 29 yds., and at the back, near the tribune 26 yds.; length
of transept inside 150 yds. — The dome, from the pavement to the summit
of the lantern , is 40i ft. in height , to the summit of the cross 435 ft. ;
its diameter is 138 ft., or about 5 ft. less than that of the Pantheon. The
church contains 29 altars, in addition to the high-altar, and 148 columns.

The Facade, with 8 columns, 4 pilasters, and 6 semi-pilasters
of the Corinthian order, is 123 yds. long and 165 ft. high, and is
approached by a flight of steps. It is surmounted by a balustrade
with statues of the Saviour and apostles, 19 ft. high. The inscription
records that it was erected by Paul V. (Borghese) in 1612. Over the
central of the five entrances is the Loggia in which the new pope
used to be crowned , and whence he imparted his benediction at
Easter to the concourse in the piazza (discontinued since 1870).

The Portico, 78 yds. in length, 147a in width, and 66 ft. in
height, is admirably decorated , the magnificent stucco-ornament-
ation of the ceiling being especially noteworthy. At the entrances
are antique columns of pavonazzetto and African marble.

Over the interior of the central external entrance is St. Peter on
the sea, termed 'Za Navicella\ a mosaic after Giotto (1298), formerly in the
entrance-court of the earlier church, unfortunately considerably altered
by Marcello Provenzale and Franc. Beretta and entirely modernized. A copy
of the original is preserved in Santa Maria della Concezione in the Piazza
Barherini (p. 162). — At the ends of the portico are equestrian statues;
on the left, Charlemagne by Comacchini, on the right, Constantine the
Great by Bernini. The latter is concealed by the side-door which is
always kept shut, and can be seen only from the Scala Regia, on the
other side (p. 330).

Of the five doors of the church that on the extreme right, in-
dicated by a cross, is called the Poeta Santa, and is only opened in
Baedeb 21

322 IV. Right Banfr. HOME. 6. San Pietro

the years of jubilee (every 25 years; the last occasion was in 1900,
but the ceremony was omitted in 1850 and 1875). The great Cen-
tral Entrance is closed by the brazen *Doors which Eugene IV.
caused to be executed in 1439-45 by Ant. Filarete (p. lxv) after the
model of those of San Giovanni at Florence. The Christian subjects
represented on the main panels contrast strangely with the pagan
subjects on the surrounding ornamental borders, such as Phrixus
and Helle on the ram, Europa on the bull, Ganymede carried off by
the eagle, Leda and the swan, etc.

While the exterior of St. Peter's is open to criticism, the ^In-
terior, notwithstanding its meretricious enrichments (sculptures
by Bernini and his contemporaries, coloured marble incrustation of
the walls, and niches formed in the principal pillars by the same
master), is strikingly impressive ; and the effect is produced not so
much by the vastness, as by the harmony and symmetry of its pro-
portions. The finest features, such as the great breadth of the three
arms of the cross, the four great dome-pillars, the arcades below the
dome, and the diameter of the latter, are all due to Bramante, to
whom the coffering of the tunnel-vaulting must also be ascribed.

On the pavement of the Nave, close to the central door, is a
round slab of porphyry on which the emperors were formerly
crowned. On the pavement beyond it are inscribed the lengths of
several other large churches (see p. 321). On each side, as far as
the dome, are four pillars with Corinthian pilasters ; above these a
rich entablature, which bears the arches extending from pillar to
pillar and the gorgeously coffered and gilded tunnel-vaulting of the
ceiling. The niches of the pillars here and in the other parts of the
church contain baroque statues of the founders of various orders. By
the first two pillars of the nave are two holy water basins supported
by colossal putti. The pavement, like the walls, consists entirely
of coloured marble, inlaid from designs by Oiac. della Porta and
Bernini. — By the fourth pillar to the right, on a throne of white
marble beneath a canopy, is the sitting *Statue of St. Peter in bronze
(PI. 1), brought by Paul V. from the destroyed monastery of San
Martino al Vaticano, a work of the 5th cent., though now ascribed
by some to the 13th cent. (School of Arnolfo di Cambio?). The right
foot is worn smooth by the kisses of devotees. In front of the statue
are two large candelabra. Above is a mosaic portrait of Pius IX.,
commemorating the 25th anniversary of his accession to the papal
see, 16th June, 1871. Pius IX. is the only pope whose pontificate
was onger than that ascribed to St. Peter.

The magnificent and plainly decorated Dome rests on four huge
piers, 234 ft. in circumference, the niches in the lower parts of
which are occupied by statues, 16 ft. in height, of (r.) St. Longinus
(2), the soldier who pierced the side of Christ, by Bernini, and St.
Helena (3) by Bolgi, (1.) St. Veronica (4, the finest) by Mocchi, and

in Vatfcano. ROME. IV. Right Bank. 323

St. Andrew (5) by Duquesnoy; above them are the four logge of Ber-
nini, where the most sacred relics are exhibited on high festivals, on
which occasions the logge may be entered by none but the canons
of St. Peter's. These relics, each preserved in the loggia above the
appropriate saint, are the spear that pierced the Saviour, a portion
of the Cross, the sudarium of St. Veronica, and the head of St. An-
drew. Above the logge are four mosaics of the Evangelists after the
Cot. d'Arpino, of colossal dimensions. The frieze bears the inscrip-
tions in blue mosaic letters 6 ft. high on a gold ground : Tu es Pe-
trus et super hanc petram aedificabo ecclesiam meam et tibi dabo claves
regni caelorum. The sixteen ribs of the vaulting of the dome are of
gilded stucco ; between them are four series of mosaics. In the
lowest the Saviour, the Virgin, and the Apostles. On a level with
the lantern, God the Father, by Marcello Provenzale, after the Cav.
d'Arpino.

Beneath the dome rises the imposing bronze Canopy ('Bal-
dacchino') borne by four richly gilded spiral columns, constructed
in 1633 under Pope Urban VIII. , from designs by Bernini, of
metal taken from the Pantheon (p. 216). It is 95 ft. in height, in-
cluding the cross, and weighs about 93 tons. Under the canopy is
the HrGH Altar, consecrated in 1594, where the pope alone reads
mass on high festivals. It stands immediately over the Tomb of St.
Peter. The Confessio, constructed by C. Maderna under Paul V., is
surrounded by 95 ever-burning lamps. The descent to it is by a
double flight of marble steps (sacristan 30-40 c), at the foot of which
are two small alabaster columns, bearing statuettes of SS. Peter and
Paul. Doors of gilded bronze, dating from the earlier church, close
the niche which contains the sarcophagus of the apostle. Between
the steps (6) is the beautiful statue of Pius VI. in the attitude of
prayer, by Canova, 1822.

The nave is continued beyond the dome, and terminates in the
Teibtjne, containing the fantastic Cathedra Petri of Bernini, a bronze
throne, supported by the four doctors of the church (Ambrose,
Augustine, Athanasius, and Chrysostom), and enclosing the ancient
wooden episcopal chair of St. Peter. About 109 tons of metal were
used in its construction. On the right (7) is the monument of Ur-
ban VIII. (d. 1644) by Bernini, with a multitude of Barberini 'bees';
on the left (8) that of Paul III. (d. 1549) by Gugl. della Porta, pro-
bably under the supervision of Michael Angelo. Above is the figure
of the pope pronouncing his benediction; beneath on the right Pru-
dence, on the left Justice. The names of the bishops and prelates
who in 1854 accepted the dogma of the immaculate conception of
the Virgin were engraved on a slab on the right wall by order of
Pius IX.

Having traversed the nave and surveyed the stupendous dimen-
sions of the fabric, we proceed to examine the aisles and transepts.
St. Peter's contains but few pictures; those formerly here, some of

21*

324 IV. Right Bank* ROME. 6. San Pietro

which are now in Santa Maria degli Angeli (p. 167), others in the
Vatican Gallery, are replaced hy copies in mosaic.

Right Aisle. Over the 'jubilee-door', St. Peter in mosaic (9),
placed here by Clement X. in the year of jubilee 1675. — The (1st)
Cappella delia Pieta (10 ; seen -well only by afternoon - light)
contains a celebrated **Pieta by Michael Angelo, an early work,
executed in 1498 at the instance of the French Cardinal Jean
de Villiers de la G-rolaie. The Madonna is seated at the foot of the
Cross , with her right arm supporting the shoulders of the dead
Christ, who lies in her lap with relaxed limbs and head leaning
slightly back. Neither the grief of the Mother nor the effect of
death on the Son detracts from the ideal beauty imparted to them
by the artist. This masterpiece was produced under the direct in-
fluence of classic art, and the depth and truth of the conception
are mirrored in the exquisite finish of the execution. This chapel
also contains, to the left, a large early-Christian sarcophagus, in
which, according, to the inscription, Petronius Probus, prefect of
the city (d. 395), was buried. It was discovered in 1595 during the
rebuilding of St. Peter's. To the right is a column which tradition
affirms to have been brought from the Temple at Jerusalem, and
which served Bernini as a model for the twisted pillars of the Bal-
dacchino. — Adjacent, to the right under the arch, is the monument
(11) of Leo XII., by De Fdbris, erected by Gregory XVI.; to the
left, cenotaph (12) and bronze relief-portrait of Christina of Swe-
den, daughter of Gustavus Adolphus, and a convert to the Romish
faith (p. 371). Beneath the monument of Leo XII. is the entrance
(closed) to the Cappella del Crocifisso, which contains the less im-
portant relics of St. Peter's. — The 2nd altar (13) is adorned with
the Martyrdom of St. Sebastian after Domenichino (original, see
p. 167). Under the next arch are the monuments of (r.) Inno-
cent XII. by Fil. Valle (14), and (1.) the Countess Matilda of Tuscia
(d. 1115) by Bernini (15), executed by order of Urban VIII. who
had transferred her remains from Mantua hither. The relief on the
sarcophagus represents Gregory VJI. granting absolution to Emp.
Henry IV. at Canossa in 1077. On the right the (3rd) Chapel or
the Holy Sacrament (16), closed by an iron gate, contains an
altar-piece by Pietro da Cnrtona; right, the finely executed *Mon-
ument (17) of Sixtus IV. (d. 1484) in bronze, by Ant. Pollajuolo
(1493). Julius II. (of the della Rovere family, like Sixtus) is also in-
terred here. Under the next arch : right, the monument (18) of Greg-
ory XIII. , the rectifier of the calendar (d. 1585), by Camillo Busconi;
left, the plain sarcophagus (19) of Gregory XIV. Opposite, over the
altar by the principal pier, is the Communion of St. Jerome (20),
after Domenichino (original in the Vatican). On the right, the Greg-
orian Chapel (21), erected under Gregory XIII. from the design of
Michael Angelo , at a cost of over 80,000 scudi; here, to the right, is
the monument (22) of Gregory XVI. (d. 1846), by Amid (1854);

in Vaticanv. —-■—■-- kkjohs,. IV. Bight Bank. o25

below it a relief, representing the dissemination of Christianity.
Above the altar is the Madonna del Soccorso (23), from the old
church of St. Peter, dating from about 1118; under it is the tomb
of St. Gregory Nazianzen (d. 390). Under the following arch :
right, the tomb (24) of Benedict XIV. ; left, altar (25) with the
Mass of St. Basilius, after Subleyras.

The Right Transept was used by the (Ecumenical Council for
its meetings in 1870. By the tribune, three altars with pictures by
Caroselli (26), Valentin (27), and Nic. Poussin (28 ; Martyrdom of
St. Erasmus). The originals of the last two are in the Vatican
(pp. 345, 346).

W. Prolongation op Eight Aisle. Under the arch : right,
Monument (29) of Clement XIII. (Rezzonico of Venice, d. 1769), by
Canova; figure of the pope and the two lions worthy of inspection;
left, altar of the Navicella (30) with Christ and St. Peter on the sea,
after Lanfranco. Right, the Chapel op the Archangel Michael
(31), the archangel after Guido Beni; in a straight direction, St. Pe-
troniUa (32), after Guercino (p. 244). Under the (left) following
arch : right, monument (33) of Clement X. (d. 1676) ; left, Raising
of Tabitha by St. Peter, after Costanzi (original, see p. 167). —
We now pass the principal tribune, and enter the —

W. Division op Lept Aisle. Immediately on the right is the
monument (34) of Alexander VIII. (Ottoboni of Venice, d. 1691), by
Arrigo di San Martino ; left, Healing of the lame man by SS. Peter and
John (35), after Mancini; farther on, right, the altar (36) of Leo I.,
with a marble relief by Algardi (about 1650), representing the Re-
treat of Attila. Facing the visitor is the Cappella della Colonna
(37), containing a highly revered Madonna from a pillar of the older
church. Beneath the altar an ancient Christian sarcophagus (38),
with Christ and the apostles in front, containing the remains of
Leo II. (d. 683), Leo III. (d. 816), and Leo IV. (d. 855). Turning
hence to the left, -we first perceive on the right, over the small door
(of egress), the unattractive monument (39) of Alexander VII.
(d. 1667) by Bernini. Opposite is an altar (40) with an oil-painting
(on slate) by Fr. Vanni, Punishment of Simon Magus.

The Left Transept, with its tribune and three altars, is next
entered. It contains confessionals for ten different languages, as
the inscriptions indicate. By the pillar of St. Veronica, below the
statue of St. Juliana, is an elevated seat, whence on high festivals
the grand-penitentiary dispenses absolution. Over the first altar on
the right, St. Thomas (41), by Camuccini; in front of that in the
centre, the tomb (42) of the great composer Giovanni Pier Luigi da
Palestrina (1526-94; p. 429); altar-piece, Crucifixion of Peter, after
Guido Beni (original, see p. 345) ; left, St, Valeria (43), after Giov.
Ant. Spadarino. The portal of grey marble to the right under the
following arch (44) leads to the Sacristy (p. 326) ; above it the mon-
ument of Pius VIII. (d. 1830) by Tenerani. To the left (48), Death

326 / V. Righ b. San Pietro

of Ananias and Sapphira, after Roncalli (original, see p. 167). From
this point is best appreciated the collective effect of the dome,
tribune, and transepts. Then the Clementine Chapel (45), erected
by Clement VIII. (1592-1605): below the altar (46) on the right
reposes Gregory I., the Great (590-604); altar-piece after Andr.
Sacchi (Mass of Gregory the Great; p. 346); facing us, the mon-
ument (47) of Pius VII. (d. 1823), by Thorvaldsen, erected by Car-
dinal Consalvi. — We now turn to the left, and perceive below the
arch, on the left, the mosaic copy of Raphael's Transfiguration (49),
four times the size of the original (p. 345). — Opposite, to the right,
begins the —

Left Aisle. Here, under the arch on the right, the monument
(50) of Leo XI. (d. 1605) by Algardi, with a relief of Henri IV of
France abjuring Protestantism ; left, monument (51) of Innocent XI.
(d. 1689) by Carlo Maratta, with relief of the delivery of Vienna
by King John Sobieski. The large Choib. Chapel (52), gorgeously
decorated by Giac. della Porta with stucco and gilding, contains the
tombstone of Clement IX. (d. 1721), an altar-piece after P. Bianchi
(Immaculate Conception; original, see p. 167), and two organs. Cer-
emonies accompanied by beautiful musical performances frequently
take place here on Sundays ; ladies admitted only when provided
with black dress and veil, gentlemen also in black (evening-dress);
others must remain outside the railing. — Beneath the next arch, to
the right, over the door, is the tomb in which the most recently de-
ceased pope rests until the completion of his tomb and monument
elsewhere. The remains of Leo XIII. were placed here in July, 1903.
To the left, the *Monument (53) of Innocent VIII. (d. 1492), by
Ant. and Pietro Pollajuolo (1498). On the right an altar (54) with
the Presentation of the Virgin, after Romanelli (original, p. 167).
The eye of the English traveller will rest with interest upon the
monument (55) of Maria Clementine Sobieski (d. 1735 at Rome),
wife of James III., the 'Old Pretender', under the arch to the right,
over the door which leads to the dome ; and upon the tomb (56), to
the left, of the last of the Stuarts, by Canova (1819) , with busts
of James III.' and his sons Charles Edward (the 'Young Pretender')
and Henry (Duke of York and Cardinal of Frascati, better known
as Cardinal York). In the last chapel (57) on the right is a font
consisting of the cover of a sarcophagus from the mausoleum of
Hadrian (p. 314). Over the altar, Baptism of Christ, after Maratta
(original, p. 167). To the left, St. Peter baptizing his gaolers in
the Mamertine Prison, after Passeri; to the right, Baptism of the
Centurion, after Procaccini.

The Sacristy (entrance by the grey marble portal mentioned at
p. 325, ground-plan 44; visited most conveniently 9-11 a.m.),
erected in 1775 by Pius VI. from the designs of Carlo Marchionne,
consists of three chapels in a corridor adorned with ancient columns
and inscriptions.

in Vaticano. EOME. IV. Right Bank. 327

At the entrance the statue8 of (r.) St. Peter and (1.) St. Paul, executed
in 1461-62 by Paolo Romano, and formerly in the Piazza of St. Peter (p 319).
The central octagonal chapel, Sagrestia Comune (58), is embellished with
eight columns of bigio from the Villa of Hadrian near Tivoli. A chorister
C/j fr.) may be found here to show the others. Left, the Sagrestia dei
Canomci (59), with the Cap. dei Canonici, altar-piece by Francesco Penni
(Madonna with SS. Anna, Peter, and Paul), opposite to which is a Ma-
donna and Child by Giulio Romano. Adjacent is the —

Stanza Capitolare (60), containing interesting pictures from the old
Confessio, by Giotto: Christ with Cardinal Stefaneschi; Crucifixion of
St. Peter, a good example of Giotto's dramatic power; Martyrdom of St. Paul;
on the back, St. Peter enthroned; SS. Andrew, John, Paul, and James; on
the predella (by the window), Madonna and Apostles. 'This work alone
would entitle Giotto to be regarded as the founder of a new school of
painting1 (C. & C). This Stanza also contains fragments of the "Frescoes
by Melozzo da Forli from the former dome of Santi Apostoli (p. 210):
angels with musical instruments and several heads of apostles. On the
right, the —

Sagrestia de' Benefiziati (61) , with a ciborium by Donatello (con-
taining a ruined painting by Memmi) and an altar-piece by Muziano, the
Delivery of the Keys. Contiguous is the Treasury ((12) of St. Peter's,
containing jewels, an altar-cross and two candelabra by Ant. Gevtili of
Faenza (1582; exquisite works, executed under the influence of Michael
Angelo), the cross of the Emp. Justinus (6th cent.), the dalmatica worn by
Charlemagne at his coronation, etc. — Over the sacristy are the Archives
of St. Peter's (shown by special permission only), with ancient MSS., e.g.
Life of St. George, with admirable miniatures by Giotto; also a few clas-
sical authors.

The Sagre Gkottk Vaticane (or ciypt), consisting of passages
with chapels and altars beneath the pavement of the present church,
are -visible by special permission only. The crypt is lighted by
electricity. Entrance, see ground-plan, a.

The Grotte Nuove, situated under the dome, consist of a corridor in
the form of a horseshoe, which encloses the Confessio. In the four great
piers which support the dome, steps descend to as many Chapels: a.
St. Veronica, k. St. Helena, t. St. Longinus, d. St. Andrew. — In the
Chapel of Santa Maria de Porticu (6), to the right by the entrance, is St.
Matthew, on the left, St. John, two statues in relief, from the tomb of
Nicholas V. (p. 358); over the altar a Madonna (retouched) by Simone
Memmi, from the portico of the old church : to the right and left are statues
of angels by Mino da Fietole and Giov. Dalmata, from the tomb i f Card.
Eroli(d. 1479). Bust of Benedict XII ., by Paolo d'i Siena. Statue of St. Peter
constructed of antique, mediaeval, and Renaissance fragments piectdtigether.
On the walls are drawings of the old ihurch of St. Peter. Outside the
chapel, on the right, a mosaic: Christ between SS. Peter and Paul (the
first holding three keys), from the tomb of Emp. Otho II. (p. 328). —
In the Chapel of Santa Maria Pregnantiom (c), at the entrance, the two
SS. James, reliefs from the tomb of Nicholas V. (p. 328); God the Father,
relief from the tomb of Card. Eroli (see above); half-figure of Boniface VIII.
Paul before Kero, relief from a cit'orium of Sixtus IV. — The ad oining
chamber c>ritain3 fragments from John VII.'s Lady Chapel (see p. 285) and
scenes from the old church of St. Peter. — Corridor. Martyrdom of
SS. Peter and Paul, rtliefs from Sixtus IV. 's ciborium (see above); statues
of the twelve Apostles, some by M<no da Fiesole; remains of the cnopy
of St. Andrew, by Iiaia da Pisa, and Paolo Romano : remains of the ciborium
of the BMy Lance, by Andrea Bregno; Reliels fiom the tnmb of Paul II. (see
p. 328.: Tue Fall, Last Judgment, Kaith and Charity (by Mino da Fiesole"),
Hope (signed), Resurrection of Christ, Creation of Eve (by Gioo. Dalmata).
Statues of SS. Peter and Panl in relief from Card. Eroli's tomb, also by
Siov. Dalmata. Madonna enthroned with Nicholas III. and Card. Gaetan'j
Orsini (relief i probably from the studio of Paolo Romano). — Opposite thf

328 IV. Right B*Sik ILUMMli b. San Pietro

entrance to ;the Confessio-.T]Sarcophagus of the city-prefect Junint Bassus
(d. 359) , one of the most brilliant >exainples of early - Christian funereal
sculpture. The Confessio (m), or Chapel of SS. Peter and Paul, in the
centre of the circular passage, is richly decorated with stucco, gold, and
jewels. Over the altar, which was consecrated in 1122, are two ancient
pictures of St. Peter and St. Paul. The sarcophagus of St. Peter (for-
merly in the catacombs on the Via^Appia, ^then in the Lateran) has been
preserved here since the 15th century.

The Grotte Vecchie are about 147 ft. long and 57 ft. wide. The pave-
ment was originally that of the ancient church, and lies 11 ft. below that
of the present church. These vaults contain the sepulchral monuments
of many popes and princes from the old church. In e. those of Nicho-
las I. (d. 867), Gregory V. (Bruno, a German; d. 999), and Emp. Otho II.
(d. at Rome, 983). At the end of/, that of Alexander VI. (d. 1503; comp.
p. 229). In g. those of Adrian IV. (Nicholas Breakspeare, the only English
pope, d. 1159), an old sarcophagus in granite; Pius II. (.ffineas Sylvius
Piccolomini, d. 1464), ah early - Christian sarcophagus (comp. p. 224):
Pius III. (d. 1503; comp. p. 224); Boniface VIII. (d. 1303), by Arnolfo di
Cambw(t); Nicholas V. (Thomas of Sarzana, d. 1455); Paul II. (d. 1471)
and Card. Eroli (see p.;327), both by Giov. Dalmata; Urban VI. (d. 1389);
Marcellus II. (d. 1555),' in an early-Christian sarcophagus; and Cardinal
Fonseca (d. 1422).

For the *Ascbnt of the Dome (see pp. 150,|151) a permesso
is required, except on Sat, and may be obtained in the 'Rev. Fab-
brica di San Pietro', Via della Sagrestia 8 (first floor). Visitors
knock at the door in the left aisle (PI. 55). An easy spiral in-
clined plane ascends to the roof. The walls bear memorial-tablets of
royal personages who have made the ascent. On the roof a number
of domes and other small structures are seen, some of which serve
as dwellings for the workmen and custodians. The *View from the
roof ranges over the entire city and the Oampagna from the Apen-
nines to the sea.

One of the eight octagonal chambers in the piers which support the
dome contains a model of the church by Michael Angelo and his pre-
decessor Ant. da Sangallo the Younger, for admission to which a separate
permesso, obtainable by special recommendation only, must be procured.

The Dome rises 308ft. above the roof, and is 630 ft. in circum-
ference. The visitor will observe the huge hoops of iron by which
the dome was strengthened in the 18th cent., when threatening
fissures had begun to appear. The gallery within the drum affords
a striking view of the interior. An easy staircase ascends between
the outer and inner domes to the Lantern, which commands a view
of the whole church and its environs. A perpendicular iron ladder
ascends to the copper ball on the summit, which can contain 16 per-
sons, but affords no view; the ascent is not worth the trouble, and
is quite unsuitable for ladies.

Ascending by St. Peter's, to the left beyond the colonnades (way
to the Vatican gallery of statues, see p. 349, and Plan, p. 318),
we reach, near the sacristy, a slab in the pavement marking the
former site of the obelisk mentioned at p. 318. To the left is the
Oampo Santo DEr Tedeschi, the most ancient Christian burial-
ground, instituted by Oonstantine, and filled with earth from Mt.

in Vuticano> KOOTK. IV. Right Bank. 329

Calvary. In 1779 it was granted to the Germans by Pius VI. Ad-
jacent is the church of Santa Maria della Pitta in Campo Santo,
adjoining which is the German and Flemish refuge for pilgrims.

Near it is situated the Palazzo del SanV Offizio , or Inqui-
sition, now a barrack. The Congregation of the Inquisition was
established in 1542 by Paul III. and this edifice was assigned to it
by Pius V.

c. The Vatican.

The Vatican Palace, the largest in the world, was originally a
dwelling-house for the popes, erected by Symmachus (p. 312) near
the anterior court of the old church of St. Peter, though throughout
the whole of the middle ages the papal residence proper was at the
Lateran. Additions were made to the Vatican by Eugene III. (1150 ),
Crclestine III., and Innocent III., but it fell into decay during
the absence of the papal court at Avignon (1308-77). "When the
popes returned to Rome, they at last took up their permanent abode
at the Vatican, deserting the Lateran, which had been devastated by
a great Are in 1308. After the death of Gregory XI. the first con-
clave was held in the Vatican in 1378, which resulted in the schism.
In 1450 Nicholas V. (p. lxiv), with a view to render the Vatican the
most imposing palace in the world, determined to unite in it all the
government-offices and residences of the cardinals. On his death
he left behind him an almost completed palace, including the
Library (comp. p. 365), the Appartamento Borgia, and the Stanze,
to which Alexander VI. added the finishing-touch in the shape of
the Torre Borgia. In 1473-81 the Sistine Chapel was erected by
Sixtus IV., and in 1486-92 the Belvedere, or garden-house, by In-
nocent VIII. Bramante, under Julius II. , united the latter with
the palace by means of a great court. The Logge round the Cortile
di San Damaso were also constructed by Bramante. Paul III. founded
the Pauline Chapel in 1540, and Sixtus V. built the present Library
(which divided Bramante's large court into two parts, the Cortile
di Belvedere and the Giardino della Pigna) and the present resi-
dence of the popes, which last was completed by Clement VIII.
(1592-1605). Urban VIII. began the Scala Regia (p. 330) from
Bernini's designs; Pius VI. erected the Sala a Croce Greca, the Sala
Rotonda, and the Sala delle Muse, Pius VII. the Braccio Nuovo for
the sculptures, and Pius IX. closed the fourth side of the Cortile di
San Damaso by covering and reconstructing the great staircase (Scala
Pia) which leads from the arcades of the piazza into the court. The
palace now covers an area of about 13l/2 acres, of which about 6 are
occupied by the 20 courts, and contains perhaps 1000 halls, chapels,
saloons, and private apartments (the common estimate of 11,000
apartments is a mere fable). By far the greater part of the Vatican
is occupied by collections and show rooms, a comparatively small part
of the building being set apart for the papal court. A law passed

330 IV. Bight'^mk KQMi e. The Vatican:

on 13th May, 1871, secures to the Vatican, the Lateran, and the
papal villa at Castel Gandolfo the privilege of exterritoriality.

The Principal Entrance to the Vatican (Portone di Bronzo)
is at the end of the right colonnade of the Piazza of St. Peter,
where the Swiss guard is posted (no fee). The ciceroni who proffer
their services here are to be avoided ; their services are useless.
Straight in front is the Scala Regia, leading to the picture-galleTy,
etc., see below. The staircase to the right (Scala Pia, see p. 329),
leads to the Cortile di San Damaso, a court which derives its name
from the fountain of St. Damasus erected here by Innocent X., and
sometimes called Cortile delle Logge from the Logge of Bramante
(p. lxvi) by which it is bounded on three sides. On the right is
the wing occupied by the Pope. On the left is a door with the in-
scription Adito alia Biblioteca ed al Museo (available for readers in
the library only).

A. Cappella Sistina. Raphael's Stanze and Logge. Picture
Gallery. Raphael's Tapestries. Appartamento Borgia.
Admission, see pp. 150, 151. Permessi (see below). Sticks and um-
brellas must be given up on the second landing of the Scala Regia. Gratuity
in the Sistine Chapel, 50 c. Catalogue of the picture-galleries and decora-
tive paintings by the Conservatore Ereole Massi, in Ital. 2yt fr., Engl. 2>/2
and l'/2 fr., French l'/2 fr. 5 it may, however, be dispensed with.

We proceed from the principal entrance (Portone di Bronzo, see
above) straight on to the Scala Regia, a magnificently decorated
staircase, with a skilfully treated perspective effect, by Bernini.
From the first landing we have a view, to the right, of Bernini's
statue of Constantine (p. 321), on a line with the portico of St.
Peter's. At the top of the staircase we obtain our permesso and pass
through a door to the Staircase on the Right, which ascends to the
Sala Regia, on the first floor (91 steps). Halfway up a notice-board,
on the right, marked 'Camere e Stanze di Raffaello', indicates the ap-
proach to the second floor with Raphael's Stanze and Logge (p. 335).
On the third floor (accessible from the Logge) is the picture-gallery
(p. 344).

Sala Regia. Oappella Sistina. Sala Ducale.
Cappella Paolina.
The Sala Begia, an entrance-hall to the Sistine Chapel origin-
ally destined for the reception of foreign ambassadors, was begun
by Ant. da Sangallo the Younger under Paul III. and was completed
in 1573. The stucco decorations of the ceiling are by Perin del
Vaga, and those over the doors by Daniele da Volterra. The large
frescoes, by Vasari, Salviati, and the Zuccari, illustrate the power
of the church : Scenes from the Night of St. Bartholomew (the in-
scription Strages Hugenottorum, etc., which was once under them,
has been obliterated); Alliance of the Spanish and Venetians with
Paul V.; Batle of Lepanto in 1571; Gregory VII. absolving the

ao ao *o »o

Cortile Ls=W
di
S . D a. m. a. s o

Sistine Chapel MfiME. IV. Right Bank. 331

Emp. Henry IV.; Conquest of Tunis ; Gregory XI. returning from
Avignon; Alexander III. absolving Fred. Barbarossa. The door in
the entrance- wall, to the left, admits to the Sistine Chapel (visi-
tors knock).

The ** Sistine Chapel was erected under Sixtus IV. by Qiov.
it' Bold in 1473-81 ; length 133 ft., width 45 ft., six windows on
each side above. Beautifully decorated marble screens enclose the
space set apart for the clergy; the tribune on the right with the
handsome balustrade is occupied by the choir. Both of these are
the work of Mino da Fiesole and other Florentine masters. The
arrangement and decoration of the chapel are modelled on those of
the early-Christian basilicas. The lower part of the long walls was
formerly hung with Raphael's tapestry (p. 346) at festivals, while
the upper part is decorated with beautiful *Fbescoes, executed
about 1481-83 by the most celebrated Florentine and TJmbrian
masters of the period (p. lxiv) and abounding in contemporary por-
traits (best light in the morning). These represent incidents from
the life of Christ (right) and Moses (left) arranged in the early
ecclesiastical manner, in parallel scenes of promise and fulfilment.
The two series begin at the altar and meet on the entrance-wall.
Left: 1. (by the altar) Perugino and Pinturicchio, Moses with his
wife Zipporah journeying to Egypt, Zipporah circumcises her son ;
*2.8andro Botticelli, Moses kills the Egyptian, drives the shepherds
from the well, kneels before the burning bush ; 3. Piero di Cosimo
and pupils of Cosimo Rosselli, Pharaoh's destruction in the Red
Sea; 4. C. Rosselli, Moses receives the Law on Mt. Sinai, Worship
of the golden calf; 5. S. Botticelli, Destruction of the company of
Korah and of Dathan and Abiram (perhaps a reference to the schism
of the Archbishop of Carniola) ; in the background is the Arch of
Constantine. — *6. Luca Signorelli and Bart, delta Oatta, Moses as
a law-giver (the nude youth in the centre personifies the tribe of
Levi), Investiture of Joshua, Mourning over the body of Moses. ■ —
Right: 1. Perugino and Pinturicchio, Baptism of Christ; 2. S. Botti-
celli, Sacrifices in cleansing a leper (Levit. xrv. 2-7) and Christ's
Temptation ; in the background is the then recently completed
Ospedale di Santo Spirito (p. 317); *3. Dom. Ohirlandajo, Vocation
of Peter and Andrew, in a dignified and severe monumental style ;
4. C. Rosselli, Sermon on the Mount, Cure of the leper- *5. Peru-
gino, Christ giving the keys to Peter, one of the master's finest
monumental works in spite of defects in the composition (the figure
with the T square on the right is that of the architect Giov. de Dolci,
see above); 6. C. Rosselli, Last Supper. — The frescoes on the
entrance-wall — Resurrection of Christ, originally by D. Ohirlan-
dajo, and Contest of the Archangel Michael for the body of Moses,
by Salvidti — were renewed by Arrigo Fiammingo and Matteo da
Lecce by order of Gregory XIII. — On the pillars between the
windows 24 popes by Fra Diamante, Ohirlandajo, Botticelli, and

332 IV. Righi^Bsrj!, HOME-. c. The Vatican:

C. Rosselli. ■ — The place of honour at the altar, before Michael
Angelo painted his Last Judgment (p. 334). was occupied by three
frescoes by Perugino : the Finding of Moses, Coronation of the Vir-
gin, and Adoration of the Magi.

The **Ceiling (p. lxvii; mirrors provided by the custodian ;" fee )
was begun by Michael Angelo on 10th May, 1508, and completed
on October 31st, 1512. Whether the ceiling of the Sistine Chapel,
or the Stanze of Raphael should be regarded as the culminating
effort of modern art, has long been a subject of controversy. The
merit of uniformity of thought and compactness of composition
must be awarded to the ceiling-painting, and these attributes are
the more worthy of admiration as the subjects of the whole series
had not been agreed upon from the outset. The pictorial enrich-
ment of the ceiling was at first to be limited to the figures of the
Twelve Apostles, but Michael Angelo, perceiving the poverty of
the design, prevailed on the pope to allow him to extend it. In
order to connect the different scenes, Michael Angelo invented an
imaginative structure with columns, pillars, and cornices in bronze
and marble, which rises from the walls, and encloses in the
middle of the ceiling (which is vaulted, with a flat surface in the
middle) nine sections of different sizes. The lifelike figures which
step forth from the architectural members, some of them in their
natural colour , and others of a bronze tint , impart to the back-
ground such animation and significance as to render it an admir-
able introduction to the large central pictures. It is here that the
spectator will become fully aware of the importance to a painter of
a thorough acquaintance with architectural designs, and of the ex-
tent to which Michael Angelo availed himself of such acquaintance.

A description of the Central Scenes may be given nearly in
the words of Ascanio Condivi, a pupil of Michael Angelo, who in
1553 wrote the master's life under the eye of the latter. — 'In
the 1st Section of the ceiling (reckoned from the altar), which is
one of the smaller ones, you observe in the air God Almighty, who
with the motion of his arms separates light from darkness. — In
the 2nd Section he creates the two great lights of the world, his
outstretched right hand touching the sun, and the left the moon.
Around him are several angels, one of whom (to the left) hides his
face, and presses close to the Creator, as if to screen himself from
the baneful influence (dazzling light) of the moon. In the same
section God is again represented as engaged in creating the herbs
and plants on the earth. He is portrayed with such art, that
wherever you turn he appears to follow you, showing his whole
back down to the soles of his feet, — a very excellent work, proving
what can be done by foreshortening. — In the 3rd Section God the
Lord appears in the air surrounded with angels, regarding the
waters, and commanding them to bring forth all those kinds of
animals which that element nourishes. — In the 4th Section is

IV. Right Bank. 333

represented (in the grandest and most thoughtful composition of
the series) the creation of man: God is seen -with outstretched
arm and hand, as if prescribing to Adam what to do, and what to
abstain from (more correctly, God causing life to stream through
Adam's limbs by touching him with his forefinger). With his other
arm he encloses a group of angels. — In the 5th Section God draws
from Adam's side the woman, who with folded hands stretched out
towards God, bows herself with a sweet expression, so that it
seems she is thanking him, and that he is blessing her. — In the
6th Section the Demon, in female form from the waist upwards,
and otherwise a serpent, coils himself round a tree ; he converses
with Adam and Eve, whom he persuades to disobey their Creator,
and hands the forbidden fruit to the woman. In the second part
of the section you see the pair, driven out by the angel, fleeing
terrified and sad from the face of God. • — In the 7th Section the
sacrifice of Abel and Cain (rather Noah's thank-offering) is repre-
sented. - — In the 8th Section is seen the Flood, with Noah's Ark
on the water at a distance, and a few persons clinging to it in
hopes of saving themselves. Nearer is a boat crowded with
people, which, owing to its undue load, and to the numbers of
violent shocks of waves, is already shipping water and threaten-
ing to sink, and it is indeed a strange thing to see the human
race perishing so miserably in the waves. Still nearer the eye
appears above the water the top of a mountain, where a number
of men and women have sought refuge as if on an island ; they show
different emotions, but they all cower, miserable and terrified,
under a tent stretched over a tree, to shelter themselves from the
excessive rain. And in this scene the wrath of God is represented
with great art, for he sends upon them lightnings, waters, and
storms. There is also another mountain-top on the right side with
a group of people on it in similar distress, but it would take too
long to describe each one of them. — In the 9th Section, the last,
is narrated the story of Noah, who, when lying drunken and
naked on the ground, is mocked by his son Ham, but is being
covered by Shem and Japheth'.

Michael Angelo reversed the chronological order and painted the last
scenes first. Here, at the entrance, we command a view of the central
figures, which, being nearer to the spectator, coald be executed on a
smaller scale than those in the neighbourhood of the altar. The series
of Prophets and Sibyls are best seen from the centre of the chapel.

On the lower part of the vaulting are the Prophets and
Sibyls, surrounded by angels and genii. To the left of the altar :
1. Jeremiah, immersed in sorrowful thought ; 1. Persian Sibyl, read-
ing; 3. Ezekiel, with half-opened scroll; 4. Erythraean Sibyl, sit-
ting by an open book ; 5. Joel, reading a scroll ; 6. (over the door)
Zacharias, turning the leaves of a book ; 7. Delphic Sibyl, with an
open scroll; 8. Isaiah, his arm resting on a book, absorbed by
divine inspiration ; 9. Cumaean Sibyl, opening a book ; 10. Daniel,

334 IV. Right 'Hank. rWWFE. c The Vatican:

■writing; 11. Libyan Sibyl, grasping an open book; 12. (above the
Last Judgment) Jonah, who has just escaped from the belly of the
whale (the symbol of the resurrection of Christ). 'All these are
truly wonderful', says Condi vi, 'both owing to the attitudes, and
to the ornamentation, and the variety of the drapery. But most
wonderful of all is the prophet Jonah who sits at the top of the
vaulting. His body is foreshortened towards the inside, towards
the part nearest the beholder's eye, while the legs project outside,
in the more distant part : a marvellous work, for so great is the
skill of Michael Angelo in foreshortening and perspective'.

In the pointed arches and lunettes of the vaulting are the an-
cestors of the Saviour in calm expectation. In the four corner-
arches : on the altar-wall, right, the Israelites in the wilderness
with the brazen serpent; left, King Ahasuerus, Esther, andHaman.
On the entrance-wall, right, David and Goliath ; left, Judith.

In 1534-41 under Paul III., nearly 30 years later than this
ceiling , Michael Angelo painted on the altar - wall the *Last
Judgment, 64 ft. in width and 32 ft. in height (p. lxviii). As a
preliminary step the two windows on the altar-wall had to be built
up, thus destroying the line proportions of the chapel. Careful and
repeated study alone will enable the spectator to appreciate the
details of this vast composition, which is unfortunately blackened
by the smoke of centuries, and unfavourably lighted. To fathom
the religious views and artistic designs of the talented master is a
still more difficult task, imbued as he was with the influence of
Dante. On the left of the figure of Christ as Judge hover the saints
drawn hack by devils and supported by angels, on his right the
sinners in vain strive to ascend ; above are two groups of angels
with the Cross, the column at which Christ was scourged, and the
other instruments of his passion ; in the centre Christ and the
Virgin, surrounded by apostles and. saints; below the rising dead
is hell, according to Dante's conception, with the boatman Charon
and the judge Minos, whose face is a portrait of Biagio of Cesena,
master of the ceremonies to Paul III., who had censured the picture
on account of the nudity of the figures. Paul IV., who contemplated
the destruction of the picture on the same account, was persuaded,
instead, to cause some of the figures to be partly draped by Daniels
da Volterra. Clement XII. caused this process to be extended to
the other figures by Stefano Pozzi in the 18th cent., whereby, as
may be imagined, the picture was far from being improved.

Masses for the Pope are celebrated in the Sistine Chapel both
on his coronation and at his decease; masses are also said on the
occasion of pilgrimages, and for the souls of departed Catholic
princes.

The Sala Ducale, which adjoins the Sala Kegia, constructed hy Ber-
nini, is decorated with frescoes and landscapes by Bril. Special permis-
sion from the maggiordomo of the Vatican (p. xxii) is necessary for a visit
to this hall, or to tbe Pauline Chapel (Cappella Paolina), built in 1540 by

Raphaels ocaroe. — numr,. IV. Right Bank. 0.>5

Antonio da Sang alto the Younger for Paul III., also adjoining the Sala Regia.
In this chapel are two frescoes by Michael Angelo, painted by him in
1542 - c. 1550: on the left, the Conversion of St. Paul, on the right, the
Cruciftxion of St. Peter (p. lxviii). The other pictures are by Lor. Sabbatini
and F. Zuccaro, the statues in the corners by P. Bresciano. The chapel is
used on the first Sunday in Advent for the Quarantore, or exposition of
tbe host during 40 hrs., when, as well as on Holy Thursday, it is brilliantly
illuminated.

Raphael's Stanzb and Logge. Cappella di Niccolo V.

Picture Gallery. Raphael's Tapestries.

Comp. the Plan, p. S30.

We ascend the staircase indicated by the notice-board mentioned
at p. 330, and on the second floor knock at the white door, through
which Raphael's Stanze and Logge are entered from the back. —
In front and to the right are two rooms with indifferent modern
pictures by Roman artists , chiefly representing scenes from the
lives of persons canonised by Pius IX. The room to the right also
contains a picture representing the Relief of Vienna in 1683 by John
SoMeski, by Matejko, presented by Poles in 1884. We traverse
this room, and then a saloon, the Sala delV Immacolata, decorated
by Podesti , by order of Pius IX., with frescoes relating to the
doctrine of the Immaculate Conception of the Virgin, promulgated
on8thDec, 1854 (comp. p. lxxv). The magnificent cabinet in the
centre, which was presented to Pius IX. in 1878 by the French
clergy, contains the text of the dogma, translated into many lan-
guages. — The door straight in front of us leads to the first of —

**Raphael's Stanze. The frescoes executed by Raphael in 1508-
1520 in the papal state-apartments (Stanze or Camere) of the Vatican,
by order of the Popes Julius II. and Leo X., are unquestionably the
foremost among the creations of the master and are rivalled by no
modern works of art in existence except the ceiling-paintings in the
Cappella Sistina (p. 332). The woTk, however, in its entire grandeur
had not been planned, nor the task committed to Raphael from the
outset. Julius II. originally intended these rooms to be decorated
in a much simpler style , and he entrusted the task to Perugino,
8odoma, and other painters of Umbria and Siena. These were joined
by the young Raphael, who had probably been introduced by
Perugino, and who soon became so prominent among his fellows,
that the work was entrusted to him exclusively. Raphael did not,
however, live to complete his task, and it was finished by his pupils.
For eaoh of these paintings he received 1200 gold scudi (nearly
500 J.). They were seriously injured during the plundering of Rome
in 1527, but were restored by Carlo Maratta under Clement XI.
(comp. also pp. lxviii et seq.).

The development of Raphael's genius will be more fully realised if the
frescoes are inspected in the order of their painting: Stanza della Signa-
'w» (p. 336), Stanza d'Eliodoro (p. 340), Stanza dell' Incendio (p. 336), Sala
oi Costantino (p. 341).

336 IV. Bight^Hank. KOMI c. The Vatican:

I. Stanza dell' Ineendio, which we enter first, is the third in
chronological order. The frescoes here were painted in 1517 hy
pupils of Raphael, from his designs. — The Ceiling Paintings
(Glorification of the Trinity) are hy Perugino (1508). — The Mural
Paintings represent scenes from the pontificates of Leo 111. and
Leo IV.

Over the window : 1. Oath of Leo III., sworn hy him in'pre-
sence of Charlemagne (with the gold chain, his hack turned to the
spectator), in order to exculpate himself from the accusations
brought against him, executed hy Perin del Vaga.

To the right of this, on the exit-wall : 2. Victory op Leo IV.
over the Saracens at Ostia, executed hy Oiulio Romano. The
pope is represented as Leo X., accompanied hy Card. Giulio de'
Medici (Clement VII.), Card. Bibiena, and others. Below : Fer-
dinand the Catholic, and the Emp. Lothaire.

*3. Incendio del Borgo, or Conflagration in the Borgo, whence
the name of the room. This work was probably carried out by
Francesco Penni alone. The apparently ungrateful task of painting
a miracle has been performed so happily by the genius of Raphael,
that he has presented us with what would be termed in modern
language a magnificent genre picture. The traditional incident —
the extinguishing of a fire which had broken out in the Borgo, or
Vatican quarter, by the sign of the cross made by Pope Leo IV.
(9th cent.) in the Loggia of St. Peter's — is placed in the back-
ground. The foreground exhibits the terrors of a conflagration,
the efforts of the people to save themselves and their goods, and
the half-paralysed condition especially of the mothers and other
women. We are then transported to the heroic age, by a group in
the left corner, representing ^Eneas carrying the aged Anchises
on his hack and accompanied by Creusa and Ascanius, his wife and
child. Raphael's object in introducing this group was probably to
give an ideal example of filial devotion at a moment of great peril,
and also perhaps to arrest the attention of his contemporaries by
these well-known figures from the familiar ^Eneid. The Incendio
is unquestionably the most popular picture of the series, and is
well adapted to illustrate the superiority of Raphael's art to that
of a later period. The antiquarian will also scan with interest
the facade of the old church of St. Peter, represented here as it
still existed in Raphael's time.

Below : Godfrey de Bouillon and Aistulf.

4. Coronation op Charlemagne in the old Church of St. Pe-
ter. Leo III. has the features of Leo X., and the emperor those
of Francis I. of France. Below : Charlemagne.

II. *Stanza della Segnatura, so named from the court of justice
(Segnatura di Qrazia), presided over by the pope, which used to sit
here every Thursday. The frescoes were begun in 1508 and com-

Raphael's Stance. ROME. IV. Right Bqnk. 337

pleted in 1511. The sections of the vaulting of the apartment had
already been arranged by Sodoma.

Ceiling Paintings. 1. Theology (divinarum rerum notitia), a
figure among clouds, in the left hand a book, with the right pointing
downwards to the heavenly vision in the Disputa beneath ; ad-
jacent, the Fall of man. 2. Poetry (numine afflatur), crowned with
laurels, seated on a marble throne with book and lyre ; adjoining
it, the Flaying of Marsyas. 3. Philosophy (causarum cognitio),
with diadem, two books (natural and moral science), and a robe
emblematical of the four elements ; adjoining it, Astronomy (comp.
the representation of the same subject in Santa Maria del Popolo
(p. 157). 4. Justice (jus suum unicuique tribuit), with crown,
sword, and balance ; adjacent, Solomon's Judgment.

Mural Paintings. Under the Theology : 1. The Disputa. This
name continues to be applied to this painting, although it is based
on a misunderstanding and error. The scene represented is not a
dispute about the doctrine of transubstantiation, as commonly sup-
posed. The monstrance with the host on the altar, directing
the attention from the assembly of the church on earth to the
heavenly assembly, serves as a symbolical link between the two
halves of the composition, just as the miraculous Incarnation of
Christ unites the earthly with the heavenly sphere. The scene
is rather to be defined as the Glorification of the Christian Faith.
The congregation gathered round the altar, full of religious
emotion and burning with enthusiasm, sees heaven open, dis-
closing Christ with the heroes of the faith grouped around him.
The composition thus consists of two halves, the upper and the
lower, whereby not only the heavenward direction of the reli-
gious sentiment is clearly indicated, but a definite basis for its
formal expression is also obtained. In the upper half is Christ
enthroned, attended by the Madonna and the Baptist ; above him
is the half-figure of God the Father ; and below him is the symbol
of the Holy Spirit, at each side of whom are two cherubim holding
the books of the gospel. A choir of angels forms the background, and
angels likewise bear the clouds, on which, a little lower down, the
heroes of the Old and New Testament are sitting. These last are
"ranged alternately, and the heroes of the Old Testament at the
same time represent the epochs of the world. To the left of the
spectator sit St. Peter, Adam, St. John the Evangelist, David, St.
Lawrence, and a half-concealed personage from the Old Testament
[Jeremiah'!); on the right, St. Paul, Abraham, St. James, Moses,
St. Stephen, and lastly an armed hero of the Old Testament. —
to the lower half the four Fathers of the Church , sitting next
to the altar, constitute the historical foundation of the picture ; to
'he left St. Gregory and -Si. Jerome ; on the right St. Augustine
&nd St. Ambrose. From a very early period attempts have been
Baedekeb. .Central Italy. 14th Edition. 22

338 IV. Right 2te»fe SQwS c. The Vatican:

made to attach historical names to the other figures, -which are sup-
posed to be portraits of theologians. Vasari states that they re-
present SS. Dominic and Francis, Thomas Aquinas, Bonaventura,
Scotus, and Nicholas of Bari. The figure in antique costume beside
St. Ambrose, stretching his right hand towards heaven, has been
identified with Petrus Lombardus, the monk behind St. Augustine
with Thomas Aquinas, the cardinal with Bonaventura, and the two
popes with Sixtus IV. and Innocent III. The artist has also shown
his independence by introducing several personages of much later
date. To the extreme left, in the background, is Fra Angelico da
Fiesole, on the right side is the laurel-crowned profile of Dante, and,
separated fromDante by an old man, appears the head of Savonarola.

In the space below the picture (added by Perin del Vaga under
Paul III.), from left to right: Heathen sacrifice; St. Augustine
finding a child attempting to exhaust the sea ; the Cumaan Sibyl
showing the Madonna to Augustus ; allegorical figure of the ap-
prehension of divine things.

Under the Poetry : 2. The Pabnassus (to the right of the Dis-
puta). — This composition is the most perspicuous of the whole
series. The spectator will not fail to appreciate the poetical life
and exalted sentiment which pervade the picture, while the im-
pression it conveys is at the same time exceedingly pleasing. Ra-
phael has shown consummate skill in adapting his work to the un-
favourable character of the space to be covered. Apollo sits under
laurels playing the violin. This instrument was not chosen by Ra-
phael from ignorance or for the purpose of paying a compliment to
Giacomo Sansecondo, a famous violinist of that period, but on the
sole ground that the motion of the hand seemed to him more grace-
ful when playing the violin than the lyre. Around Apollo are
grouped the nine Muses, forming with him a compact central group.
On the left is the imposing figure of the blind Homer, so inspired
by the tones of the god that he begins to sing. Near him are Dante
and Virgil. In the foremost group Petrarch and Sappho are recog-
nizable , and the front figures in the opposite group are called
Pindar and Horace. The personages behind aTe evidently contem-
poraries of Raphael, whose names cannot now be ascertained.

The paintings in grisaille, below, illustrate the legend that a
sarcophagus filled with Latin and Greek books was found on the
Janiculum in 181 B.C. (left painting) and that the consuls caused
the Latin books to be preserved, but the Greek books to be destroyed
as hostile to religion (right painting).

Under the Philosophy: 3. The so-called School op Athens (a
name not originally applied to the work), the companion to the
Disputa, not only in point of situation, but with respect to its
subject likewise. There we are introduced to a congregation of
believers, here to an Assembly of Scholars. The scene is not divided
between heaven and earth, as in the case of the Disputa, but is

Raphael s vian*e. im-itu-.. IV. Right Bank. 339

confined to earth alone; while at the same time, as in the Disputa,
a gradation of knowledge, from the imperfect empirical to the per-
fect and universal, is suggested. A flight of steps leads to an open
colonnade, crowned with a dome at the back (said to have been
designed by Bramante), which forms the most admirable temple
of knowledge ever created. Apollo, Minerva, and numerous gods
adorn the niches. Plato and Aristotle, the princes in the realm
of thought whom the Renaissance especially revered, surrounded
by a numerous train, approach the steps which descend to the
foreground, where, in contrast to the pure philosophers, is a crowd
of representatives of the empirical sciences, of geometry, arith-
metic, astronomy, and music. Such are the two main contrasts
presented by the picture, and with them are combined a gradual
wising of the sentiments and aspirations from mere mechanical
learning and teaching , copying , meditating , and disputing , to
tie glorious revelation of the truth, as embodied in the 'divine
Plato'. To these general features Raphael imparted the warmth of
life and individuality by interweaving with the scene a number of
ancient Greek and other personages, in conformity with the pre-
valent aims of his contemporaries, who were enthusiastic admirers
of the antique. He by no means intended, as has been supposed, to
give a complete picture of the development of Greek philosophy, but
he merely introduced various popular characters of antiquity, with a
view to direct the spectator's imagination into the proper channel,
and, as it were, to localize a scene which would otherwise have been
too general and. abstract. Besides Plato and Aristotle, the faces of
the bald Socrates (above, to the left), and of Diogenes lying on the
steps, are unmistakable. Ptolemy (who from having been mistaken for
one of the kings of that name is furnished with a crown), and Zoro-
aster with the globe in the foremost group on the right, are easily
recognised. The names of the other figures are merely conjectural.
The bearded old man in the corner to the left, in profile, is sup-
posed to be Zeno, the Stoic; the vine-wreathed figure beside him,
holding' a book, is perhaps Epicurus or Democritus. To his right
we perceive the young Federigo Oonzaga, a favourite of Julius II. ,
here painted at the express wish of the Pope. The Oriental, who
hends over the writing Pythagoras , is Averrhoes (or , perhaps,
Hermes Trismegistus~). By the base of a column sits Empedocles,
*ho is also looking towards the tablet of Pythagoras. The figure
testing his foot on a block of marble is either Anaxagoras or Xeno-
urates. Lastly, the isolated figure in the foreground, terminating
the group to the left, is supposed to be Heraclitus. In the Socrates
group above is a youthful warrior, representing either Alcibiades
or Xenophon , and the figure behind the warrior , beckoning to
Socrates, is said to be Chrysippus. No clue, however, has yet
heen discovered to the names of the figures in the corresponding
group to the right, in the upper part of the picture. Raphael has

2'2S

340 IV. Right^Banh. EQMB, e. The Vatican:

introduced several of his contemporaries into this picture. Thus,
the handsome youth in the foremost group to the left, hears the
features of Francesco Maria delta Rovere, Duke of TJrbino; the
geometer with the compasses, to the right, is a portrait of Bra-
mante. Raphael himself appears, with Sodoma, in the far corner on
the right.

Below this picture, in different shades of brown, by Perin del
Vaga (from left to right): Allegorical figure of Philosophy ;^Magi
conversing about the heavenly bodies; Siege of Syracuse; Death
of Archimedes.

Under the Justice: 4. Over the window the three cardinal
virtues : Prudence with double visage looking to the future and
the past; right, Temperance; left, Fortitude. Below, at the side of
the window, the Glorification of Ecclesiastical and Civil Law. On the
Tight, Gregory IX. (with the features of Julius II.) presenting the
Decretals to a jurist (surrounded by numerous portraits; to the left
in front Card, de' Medici, afterwards Leo X.). Below (by Perin
del Vaga) : Moses brings the tables of the Law to the Israelites. On
the left, Tribonian presents the Pandects to the Emp. Justinian. In
the space beneath : Solon's address to the Athenian people (?).

III. *Stanza d'Eliodoro, the frescoes of which were painted in
1512-14, almost wholly by Raphael's own hand. The advance of
the master in technical freedom and precision is easily recognizable.

The Ceiling Paintings (sadly damaged) from the Old Testament :
Jehovah appears to Noah, Jacob's Vision, Moses at the burning bush,
Sacrifice of Isaac. They were executed by Peruzzi. who, when the
decoration of the Stanze was first contemplated, was probably en-
trusted with the entire scheme.

The Mural Paintings, from the first of which the saloon de-
rives its name, were intended to commemorate the brilliant polit-
ical and ecclesiastical achievements of Julius II. The Repulse
of Attila (see p. 341) was not completed until the pontificate of
Leo X. Below the Moses : 1. Miraculous Expulsion of Hblio-
doeus from the Temple at Jerusalem by a heavenly horseman
(Maccab. ii, 3), being an allusion to the deliverance of the States oi
the Church from their enemies. On the right, beneath the power-
ful horse, whose rider is followed by two attendants armed with
scourges, Heliodorus lies on the ground; one of his companions
attempts to defend himself, a second shouts, a third is securing
his booty; in the background the high-priest Onias praying ; to
the left in the foreground women and children, and Pope Julius II.
on his throne (the foremost of the two chair-bearers is the cele-
brated engraver Marcantonio Raimondi). This composition is re-
markable for its vigour of expression.

Below the Sacrifice of Isaac : 2. The Mass op Bolsena. An un-
believing priest is convinced of the truth of the doctrine of tran-

Raphael's Stiii**. ROMS;. IV. Right Bank. 341

substantiation by the bleeding of the host (comp. p. 93), in allusion
to those doubting the infallibility of the church and to the sup-
pression of the schism by Julius II. (1572); below are women and
children; opposite the priest, Julius II. kneeling with calm equani-
mity. The cardinal of florid complexion is Raffaelo Riario (p. 226).
This well-preserved work is probably the most perfect of Raphael's
frescoes with respect to execution.

Below Noah: 3. Attila repulsed from Rome by Leo I., in
allusion to the retreat of the French from Italy after the battle
near Ravenna in 1512. The pope, with the features of Leo X., is
seated on a white mule, around him cardinals and attendants on
horseback, above him St. Peter] and St. Paul enveloped in a bril-
liant light, and visible only to Attila and his Huns, who are struck
with terror at the apparition.

Below Jacob's Vision : 4. The Liberation of St. Peter, in
three sections, also in allusion to the expulsion of the French. Over
the window St. Peter in the dungeon sleeping between the watch-
men is being awakened by the angel ; right, he is conducted away;
left, the watchmen awake.

Under the pictures are painted eleven Caryatides and four
Heimae in grisaille. They are symbolical of a life of peace, and
bear the distinct impress of Raphael's inventive genius, notwith-
standing considerable restoration. The paintings in different
shades of brown between these, of similar import with the large
figures, have been still more freely retouched. Behind the window-
shutters are some curious little paintings in chiaroscuro.

IV. Sala di Costantino. The pictures of this saloon were executed
under Clement VII. (Giulio de' Medici) after 1520, the date of
Raphael's death, by Giulio Romano, aided by Francesco Penni and
Raffaello dal Colle. It has been supposed that the allegorical figures
of Urbanity and Justice , which strange to say are in oil , were
painted by Raphael's own hand ; but it appears , from letters of
Sebastiano del Piombo (who sought an interest in the work after
Raphael's death) to Michael Angelo, that in 1520 one figure only
was painted in oil by Raphael's pupils as an experiment and that
the objects to be depicted were not finally agreed upon at the time
of Raphael's death, or, at least, that they underwent many changes
during their execution. Preliminary sketches had been made by
Raphael himself, particularly for the Battle of Constantine.

On the long wall : 1. Battle of Constantine against Maxentius
atPonteMolle (p. 383), the emperor advancing victoriously, behind
him flags with the cross, Maxentius sinking in the river, flight and
defeat on all sides, painted by 0. Romano. This fine composition
is full of expression and vigour, but the colouring is less success-
ful. — On the left side of the picture Sylvester I. between Faith
and Religion ; on the right Urban I. between Justice and Charity.

342 IV. Right Battle ROMS c. The Vatican:

2. Baptism op Constantine by Sylvester I. [with the features
of Clement VII.) in tne baptistery of the Lateran, by Francesco
Penni. To the left of this: Damasus I. between Prudence and
Peace ; right, Leo I. between Innocence and Truth.

3. (on the window- wall) Rome presented by Constantine to
Syl vbsteb, I., by Raffaello dalColle; left, Sylvester with Fortitude,
right, Gregory VII. (?) with Power (?).

4. Constantinb's Address to his warriors regarding the vic-
torious omen of the cross, designed by Raphael (?), and executed
by 6. Romano, who added the dwarf (perhaps Gradasso Berettai of
Norcia, dwarf of Card. Hippolytus de' Medici) and several other
figures. — On the left, St. Peter between the Church and Eternity;
right, Clement I. between Moderation and Urbanity. — The scenes
below are from the life of Constantine, designed by G. Romano.

The Ceiling, completed under Sixtus V., is adorned with an
allegory of the triumph of Christianity over paganism. In the
pendentives are Italian landscapes, with corresponding allegorical
figures in the lunettes.

One of the custodians conducts us through the death-chamber of
Julius II., the splendid ceiling of which displays the emblems of
the Medici, and opens (see pp. 150, 151) the *Cappella di Niccolo V.,
decorated by Fra Angelico da Fiesole with frescoes from the lives of
SS. Lawrence and Stephen. They are the last and maturest works
of that master, executed about 1450-55, restored under Gregory XIII.
and Pius VII. The designs on the marble pavement represent the
sun and the signs of the zodiac. Above the doorway are the arms

of Julius II.

The Upper Series of frescoes represents scenes from the life of St.
Stephen : 1. (to the right of the window) Stephen consecrated deacon by
Peter; 2. He distributes alms as deacon; "3. He preaches; 4. He is brought
before the council at Jerusalem ; 5. He is dragged away to his martyrdom ;
6. His death by stoning. — Below, in the same order, scenes from the life
of St. Lawrence: 1. Consecrated deacon by Sixtus II. (with the features of
Nicholas V.); 2. The same pope gives him treasures for distribution among
the poor ; 3. Distribution of the same ; 4. The saint is condemned by the
emperor; "5. He converts his gaoler; 6. His martyrdom. Also on the wall
below : 1. St. Bonaventura , r. St. John Chrysostom. In the vaulting : 1.
St. Augustine, r. St. Gregory. On the lower part of the right wall: 1. St.
Athanasius, r. St. Thomas Aquinas. On the vaulting: 1. St. Leo, r. St. Am-
brose. On the ceiling the Four Evangelists. Though thus in immediate
proximity to the boundless energy of Michael Angelo and the lovely forms
of Raphael, the frescoes of Fra Angelico yet hold their ground in virtue
of their air of perfect devotion and calm contemplative worship.

**Raphael's Logge (admission, see pp. 150, 151). Leaving the
Sala di Costantino, we proceed to the second floor of the logge which
enclose the Cortile di San Damaso (comp. ground-plan, p. 330), the W.
(right) wing of which was embellished (1517-19) with stucco mould-
ings, painted enrichments, and ceiling-paintings, from designs by
Raphael and under his superintendence, by Giulio Romano, Giovanni
da Vdine, and others of his pupils. The logge were originally open
and the paintings have therefore suffered seriously from exposure to

Raphael^' Lvpg*. JfOME. IV. Right Bank. 343

the weather, but since 1813 they have been protected by windows of
glass. The stucco-work and the painted ornamentation are by Oiov.
da Udine, and its style has manifestly been influenced by the an-
tique works of the kind which had been found a short time previously
in the Thermae of Titus (p. 270). (Giov. da Udine also decorated
the logge on the first floor, p. 347.) Amongst the ceiling-paintings
after Raphael's designs those in the first vault are by Giulio Ro-
mano, the others by Francesco Penni, Perin del Vaga, Polidoro da
Caravaggio, and others. Each of the thirteen sections of the vaulting
contains four Biblical scenes in quadrangular borders, which are
together known as 'Raphael' a Bible' . All these compositions display
rare fertility of invention and gracefulness of treatment (20 c. to the
custodian who opens the door).

Ceiling Paintings. The first twelve vaults contain scenes from the
Old, and the thirteenth scenes from the New Testament. We begin to
the right of the principal approach, i. e. the side opposite the present en-
trance. I. (over the door) 1. Separation of light from darkness ; 2. Separa-
tion of land from sea; 3. Creation of the sun and moon; 4. Creation of the
animals. — II. 4. Creation of Eve ; 1. The Fall; 2. Banishment from Para-
dise; 3. Adam and Eve working (injured). — III. 1. Noah building the ark;

2. Deluge; 3. Egress from the ark (injured); 4. Noah's sacrifice. — IV. 1.
Abraham and Melchizedek ; 3. God promises Abraham posterity (injured) ; 2.
Abraham and the three angels ; 4. Lot's flight from Sodom. — V. 1. God
appears to Isaac ; 3. Abimelech sees Isaac caressing Rebecca ; 2. Isaac blesses
Jacob; 4. Esau and Isaac. — VI. 1. Jacob's vision of the ladder; 2. Jacob
and Rachel at the well ; 3. Jacob upbraids Laban for having given him
Leah (injured) ; 4. Jacob on his journey. — VII. 1. Joseph relates his dream
to his brethren ; 2. Joseph is sold; 3. Joseph and Potiphar's wife; 4. Joseph
interprets Pharaoh's dream. — VIII. 1. Finding of Moses ; 2. Moses at the
burning bush ; 3. Destruction of Pharaoh in the Red Sea ; 4. Moses strikes
the rock for water. — IX. 1. Moses receiving the tables of the Law ; 2.
Adoration of the golden calf , Moses breaks the tables ; 3. Moses kneels
before the pillar of cloud (injured) ; 4. Moses shows the tables of the Law to
the people. — X. 1. The Israelites crossing the Jordan; 2. Fall of Jericho;

3. Joshua bids the sun stand still during the battle with the Ammonites ;

4. Joshua and Eleazar dividing Palestine among the twelve tribes. — XL 1.
Samuel anoints David; 2. David and Goliath; 4. David's triumph over the
Syrians; 3. David sees Bathsheba. — XII. 1. Zadok anoints Solomon;
2. Solomon's Judgment ; 4. The Queen of Sheba ; 3. Building of the Temple
(injured). — XIII. 1. Adoration of the Shepherds (injured); 2. The wise
men from the East; 3. Baptism ot Christ; 4. Last Supper.

Stucco Mouldings. Among these the charming small reliefs in the arches
of the windows of the first section should be noticed as examples of the
whole. Here to the left, above, is perceived Raphael (?), sitting and drawing,
with a grinder of colours below him. Lower down are a number of his
pupils busied in executing their master's designs, and below them Fama, who
proclaims the celebrity of the work. On the right an old bricklayer is seen
at work, and there is a similar figure on the right jamb of the 2nd window,
both evidently portraits. In the medallions and smaller panels on the
pilasters, which are decorated with grotesques , numerous antique sculp-
tures (reliefs from Trajan's Column, Apollo Belvedere, etc.) and also works
by Raphael and Michael Angelo (Adam and Eve, Prophet Jonah in Santa
Maria del Popolo, the lower figures in the Sistine Chapel, etc.) are copied
on a small scale. Raphael apparently permitted his pupils to make free
use of their studies. The whole affords a charming picture of the life
and habits of the artists during the execution of the work.

The decoration of the two other wings of the logge of this
story, with stucco work by Marco da Faenza and Paul Schor, and

344 IV. Right Bank. ROME. c. The Vatican

paintings by artists of the 16th and 17th cent., is very inferior to the
above described works of Raphael's period. — Immediately to the
left of the exit from the Sala di Costantino, in the N. (first) wing,
is the approach to the picture-gallery; we ascend the stairs, and
enter the first door on the left.

The ** Picture Gallery of the Vatican was founded by Pius VII.
by collecting the pictures given back by the French in 1815, most
of which had been taken from churches, and by adding others. This
gallery is inferior to the great Roman private collections in the
number of its works, but it contains a few masterpieces of the first
rank and almost no work that is not good. — The permesso is given
up here. The pictures are furnished with notices of the subjects
and the names of the artists. Catalogue, see p. 330.

I. Room. On the left : Ouercino, John the Baptist ; *Leonardo da
Vinci, St. Jerome, dead-colouring, in shades of brown, evidently a
study of strong perspective, probably painted about 1480; Raphael,
Annunciation, Adoration of the Magi, Presentation in the Temple,
predelle to the Coronation of Mary (p. 345); Fra Angelica da
Fiesole , Scenes from the life of St. Nicholas of Bari ; Ouercino,
Christ and Thomas ; Franc. Francia (?), Madonna with St. Jerome :
Murillo (?), Martyrdom of St. Peter Arbues. — Window-wall : Carlo
Crivelli, Dead Christ with Mary, St. John, and Mary Magdalen,
The blessed Jacobus della Marca(1477); on the right, Garofalo ,
Madonna with SS. Joseph and Catharine. — On the entrance-wall :
Bart. Montagna (not Mantegnd), Mary Magdalen anointing the Dead
Christ; Murillo(?), Adoration of the Shepherds; Murillo, Betrothal
of St. Catharine ; *Franc. Cossa (not Benozzo Gozzoli), Miracles of
St. Hyacinth, the predella of an altar-piece the central portion of
which is in London and the wings in Milan; Perugino, SS. Benedict,
Scholastica , and Placidus; *Fra Angelico , Small Madonna with
angels on a gold ground ; Bonifazio, Madonna with St. John and
St. Catharine, and St. Peter and St. Paul. — Exit-wall: ^Raphael,
Faith, Hope, and Charity, three charming female figures, predella
of the Entombment (p. 192), in grisaille (1507).

II. Room. On the right: *Domenichino, Communion of St. Je-
rome, one of his best works (1614). — Opposite the window:
**Raphael, Madonna of Foligno (1512); in the background the town
of Foligno, into which a bomb falls ; to the right, below, St. Jerome
recommends to the Madonna Sigismondo Conti, secretary of Julius
II., who ordered the painting for Santa Maria in Aracoeli, whence
it was transferred to Sant' Anna delle Contesse in Foligno in 1565
(comp. p. 237) ; to the left St. Francis of Assisi, and John the Bap-
tist. 'In its striking vigour, the lifelike individuality of its portraits,
and the powerful and delicately -blended colouring the Madonna of
Foligno far surpasses all Raphael's earlier oil-paintings'. The trans-
ference of the picture from wood to canvas, effected at Paris, whither
the picture had been carried during the wars of the Revolution, has

Picture Gallery. ROME. IV. Riyht Bank. 345

necessitated a little restoration. — **Raphael, The Transfiguration,
his last great work, painted for Card. Giulio de' Medici (afterwards
Clement VII.), and preserved down to 1797 in San Pietro in Mon-
torio (p. 377). The upper part is by Raphael's own hand: Christ
hovering between Moses andElias; Peter, James, and John pros-
trate on the ground , dazzled by the light. The figures, to the left,
in an attitude of adoration, are the martyred deacons Felicissimus
and Agapitus. The lower half (much darkened by age), where the
other disciples are being requested to heal the possessed boy, was
executed by Franc. Penni and Giulio Romano (about 1522).

III. Room. On the entrance- wall : On the left, Titian, Portrait
of Nice. Marcello, Doge of Venice (1473-74), the ugly face full of
individuality. On the right: * Titian, 'Madonna of San Niccolo de'
Frari', below are SS. Catharine of Alexandria, Nicholas, Peter, An-
thony, Francis, and Sebastian (completed in 1523, and carried about
1770 to Rome, where the rounded upper part of the picture was
cut oft). The energetic fidelity of the colouring, the dignity of the
design and forms, and the lofty gravity of the whole composition
renders this much damaged work one of the most important of the
master's middle period. Guercino, St. Margaret of Cortona. — Right
long-wall: Spagnoletto , Martyrdom of St. Lawrence; Guercino,
Mary Magdalen ; Bern. Pinturicchio , Coronation of the Virgin,
painted for the church della Fratta at XJmbertide, 1503; below
are the Apostles, St. Francis, St. Bonaventura, and three Fran-
ciscans. — Perugino , Resurrection, probably painted with some
assistance from Raphael when a youth ; the sleeping soldier to
the right is said to be Raphael's portrait, the one fleeing to the left
that of Perugino. — Coronation of the Virgin, designed by Raph-
ael for the monastery of the Madonna di Monte Luce near Per-
ugia, the upper half painted by G. Romano, the lower by Francesco
Penni in 1525 ; Lo Spagna, Adoration of the infant Christ (formerly
in La Spineta near Todi). — ^Raphael, Coronation of the Virgin,
painted in 1503 in Perugino's school, for San Francesco at Perugia ;
*Perugino, Madonna on a throne with Laurentius, Ludovicus, Her-
culanus, and Constantius, the guardian saints of Perugia, painted
in 1496. Altar-piece (14th cent.) in three sections, representing
the Coronation of the Virgin, the Nativity, and the Adoration of
the Magi. — End-wall : *Caravaggio, Entombment, one of the ablest
works of the Naturalistic School. — Window-wall : Sassoferrato,
Madonna; Niccolb (Alunno) da Foligno, Crucifixion of Christ and
Coronation of the Virgin (1466), two altar-pieces in several sections.
Between these : *Melozzo da ForVi , Fresco from the former library
of the Vatican, representing Sixtus IV., the founder, with Card. Giul.
della Rovere (Julius II.) and Pietro Riario; before him kneels Platina,
prefect of the library (p. 365).

IV. Room. Entrance-wall : Valentin, Martyrdom of SS. Processus
and Martinianus ; Guido Reni, Crucifixion of St. Peter; IV. Poussin,

346 IV. Right Bank. f£t)ME. c. The Vatican:

Martyrdom of St. Erasmus (mosaic copies of these three in St. Pe-
ter's).— Right wall: Fed. Baroccio, Annunciation; A, Sacchi, Mass
of Gregory the Great (from St. Peter's); Baroccio, St. Michelina. —
Window-wall: Moretto , Madonna with SS. JeTome and Bartholo-
mew ; Paolo Veronese, Vision of St. Helena. — Left wall : Guido
Bent, Madonna, with SS. Thomas and Jerome below; Correggio(T),
Christ in a nimbus; A. Sacchi, St. Romuald.

Among the treasures of the Vatican, in the domain of painting,
must also be reckoned *Raphael's Tapestry, exhibited along with
some other tapestries in the Galleria degli Arassi , adjoining the
Galleria dei Candelabri (p. 350), and accessible on Wed., 10-3.
The tapestry was executed from cartoons drawn by Raphael in
1515 and 1516, seven of which were purchased in Flanders by
Charles I. of England, and are now exhibited in the South Ken-
sington Museum. These designs, derived from the history of the
New Testament, are among the most admirable of the great master's
works (p. lxxi). Each piece of tapestry, wrought at Brussels (not,
as formerly supposed, at Arras, the cradle of the handicraft) with
great skill in wool, silk, and gold, when complete cost about 700J.
They were originally intended to cover the lower and unpainted part
of the walls in the Sistine Chapel , and were exhibited there for the
first time on St. Stephen's Day, 1519. During the plundering of
Rome in 1527 the tapestry was carried off and seriously injured, but
it was restored to Julius III. in 1553. In 1798 it fell into the hands
of the French, and was sold to a Genoese Jew, from whom it was
repurchased by Pius VII. in 1808. It is now sadly damaged and
faded, especially in the flesh tints. The numerous other copies in
tapestry of these cartoons, of which the oldest are in Berlin and
others in Loreto, Dresden, Paris, and Vienna, testify to the wide-
spread admiration which they excited.

The Mural Paintings in bronze-colour below the tapestries that deal
with St. Peter represent scenes from the life of Leo X. until his coronation;
those below the St. Paul tapestries illustrate further events in the life of
that apostle. The decorations which surround the principal designs are
chiefly by Raphael's pupil Giovanni da Udine. The following are the Prin-
cipal Scenes. 1st Section: to the left, *1. St. Peter receiving the keys
('feed my lambs'); "2. Peter healing the lame man in the Temple; *3. The
people of Lystra about to sacritice to Paul and Barnabas; '"4. Paul preaching
at Athens. "Fragment of a representation of Elymas the Sorcerer struck
with blindness. — 2nd Section: 5. Christ appearing to Mary Magdalen; G.
Supper at Emmaus ; 7. Presentation of Christ in the Temple ; 8. Adoration
of the Shepherds; 9. Ascension; 10. Adoration of the Magi. — 3rd Section:
11. Resurrection ; 12. Descent of the Holy Ghost. — We return by the other
side: 13. Religion between Justice and Mercy; 14. 'Feed my lambs'; 15.
Massacre of the Innocents (on three pieces); 16. Bearing of the Cross, a
small Dutch tapestry after Raphael's design ; *17. Death of Ananias ; 18.
Coronation of the Virgin (originally presented by Paul III. to the Sistine
Chapel); "19. Conversion of St. Paul; =20. Stoning of Stephen; *21. Mira-
culous Draught of fishes; "22. St. Paul in prison at Philippi. Those in-
dicated with asterisks are from the cartoons of Raphael (two others are
wanting). The rest were executed from cartoons prepared by his pupils

Apparlamento Borgia. ROME. IV. Right Bank. 347

after his death, some of them from small sketches by the master; the
Adoration of the Shepherds, the Ascension, and the Massacre of the Inno-
cents seem most in his style. This second series of tapestries was intended
for the great Consistorial Hall.

The gallery of the tapestry is adjoined by the Galleria Oeo-
grafica, a corridor with maps, 160 yds. long, designed by the Do-
minican Ignazio Dante, and executed by his brother Antonio under
Gregory XIII. in 1580 ; ceiling-paintings by Tempesta and others ;
also a number of ancient busts, some of them valuable.

The *Appartamento Borgia, situated on the first floor, below
the stanze of Raphael, was re-opened to the public in 1897. Since
the death of Leo XIII. these rooms have been appropriated by the
Secretary of State as reception-rooms, and they are accessible with
special permission only. For the former hours of admission , see
pp. 150, 151. — We proceed to the end of the Museo Chiaramonti
(p. 357), thence follow the Galleria Lapidaria (p. 359) straight on,
and descend a few steps to the first floor of the Logge (p. 342).
Immediately to the right is the entrance to the Appartamento.

The Appartamento Borgia, the domestic quarters of Alexander VI.
(Borgia) and his family, was allowed to fall into neglect after the
16th cent., but in 1889-97 was skilfully restored by L. Seits, at the
command of Leo XIII. These appartments, decorated by Pinturicchio,
rank for brilliancy of colouring side by side with the chapter-library
at Siena, which is frescoed by the same master. The majolica pave-
ment has been restored in harmony with ancient fragments preserved
in the Museo Industriale at Naples and Cantagalli's factory at Florence.
— The rooms, which face the N., are poorly lighted.

Room I (Room of the Popes). The stucco ornamentation on the
roof and the frescoes of constellations were executed by Giovanni da
Vdine and Perin del Vaga under Leo X. The tapestry on the walls
represents the myth of Cephalus and Procris. In front of the rear-
wall is placed a bust of Leo XIII., by Ugolini. In the left corner is
the armour of Julius II. (?), in the right corner that of Charles of
Bourbon (comp. p. 314). The door in the window-wall, with Biblical
scenes in inlaid wood, is a modern copy of one of the doors at
Perugia by Damiano of Bergamo, mentioned at p. 68.

Room II (Room of the Church Festivals) is adorned with frescoes,
mostly of Pinturicchio s school. On the ceiling are medallions with
bust-portraits of popes. On the walls, beginning at the left of the
back-wall : Annunciation, Nativity, Adoration of the Magi, Resur-
rection (to the left kneels Alexander VI. ; painted by Pinturicchio
himself), Ascension, Pentecost, Assumption. The arms of Nicholas V.
surmount the entrance. The Apis-bull, which frequently recurs in
the stucco ornamentation of this and the following room, is a re-
ference to the arms of the Borgias (comp. p. xli).

Room III (Room of the Lives of the Saints) has *Frescoes by
Pinturicchio himself. On the ceiling is the legend of Isis, Osiris,

348 IV. Bight Bank. KHME. c. The Vatican:

and the Apis-bull (see above). Above the door is a *Medallion of
the Madonna. On the back-wall: *St. Catharine of Alexandria dis-
puting before Emp. Maximianus (the saint is depicted with the
features of Lucrezia Borgia, on the right the Turkish prince Djem ;
in the background appears the Arch of Constantine). Entrance- wall:
Legends of St. Susanna, on the left, and of St. Barbara, on the right.
Exit-wall: on the left, SS. Paul and Anthony, the hermits, in the
Theban desert; on the right, the Visitation. Window- wall: Martyr-
dom of St. Sebastian (to the right appears the Colosseum). The
handsome benches with inlaid wood were brought from the library
of Sixtus IV.

Room IV (Room of the Seven Liberal Arts) is adorned with alleg-
orical frescoes by Pinturicchio and his pupils: Grammar, Logic,
Rhetoric, Geometry, Arithmetic, Music, and Astronomy. The chim-
ney-piece, executed by Simon Mosca from a drawing by Sansovino,
was brought from the Castello Sant' Angelo. To the right are some
remains of the original majolica pavement. — A door leads hence
to the bed-room where Alexander VI. died.

Room V (Room of the Credo), like the following, belongs to
the Torre Borgia (p. 329). The ceiling-frescoes, representing the
Apostles with the Creed, were perhaps executed by Pietro d' Andrea
of Volterra. The mural decorations of painted canvas in Rooms V
and VI are nearly all modern. Some good grotesques adorn the in-
trados of the window. Bust of Pius II., perhaps by Paolo Romano (?).

Room VI. (Room of the Sibyls). On the ceiling, Prophets and
Sibyls, executed by pupils of Pinturicchio, freely retouched in places.

B. Antiquities: Museo Pio-Clementino. Museo Chiaramonti.

Bbaccio Ndovo. Egyptian Museum. Etruscan Museum.

Admission, see pp. 150, 151. With the exception of those in the Cortile
del Belvedere and the Braccio Nuovo there are practically no chairs or
benches on which to sit. — A short Catalogue by Ercole Massi, in English
(274 fr.), French, or Italian (2 fr.) may be bought at the entrance. — Comp.
also Helbig <k Reisch, Antiquities in Rome, vol. I, pp. 1-285, II, pp. 264-414.

The Vatican Collection of Antiquities , the finest in the
world, was begun by Popes Julius II., Leo X., Clement VII., and
Paul III. in the Belvedere (see p. 355). But only a few of the
present masterpieces, such as the Torso of Hercules, the Apollo
Belvedere, and the Laocoon, date their appearance in the Vatican
from that period. By far the greater portion of the collection made
by these art-loving popes was scattered by their successors in the
second half of the 16th cent., especially by Pius V., and some of their
treasures were even presented to foreign collections. Clement XIV.
(Ganganelli, 1769-74) determined to institute a more extensive col-
lection, in consequence of which the Museo Pio-Clementino arose
under him and his successor Pius VI. This museum was arranged
by the celebrated Ennio Quirino Visconti. It was despoiled of its

Museo Pio- Clementine ROME. IV. Right Bank. 349

costliest treasures by the French in 1797, but most of these were
restored in 1816. Pius VII. added the Museo Chiaramonti, and in
1821 the Braccio Nuovo ; and Gregory XVI. the Egyptian and the
Etruscan Museum.

The Entrance is i/2 M. from the piazza of St. Peter, on the W.
side of the palace, not far from the N.W. corner. Approaching from
the Borgo, we cross the Piazza San Pietro, proceed to the left of the
great flight of steps of St. Peter's through the passage under the
portico, walk round the whole of St. Peter's (comp. also plan, p. 318).
and then, between the Vatican Gardens and the palace, reach the
gate under the Sala della Biga. (This point may be reached by
carriage, so that it is not necessary for visitors to alight in the
Piazza of St. Peter, as the drivers sometimes pretend.) We turn to
the right at the ticket-office, and ascend the steps to the left, entering
the museum by the Sala a Croce Greca, described below. (The glass-
door opposite the staircase leads to the Library, p. 364.)

The iron gate to the left at the foot of the steps opens upon a terrace
(not always accessible to visitors) which commands a glimpse of the larger
Garden of the Vatican, called also '/i Boscareccio\ which is visited by
special permission only. The garden extends to the walls of the Leonine
city, and is beautifully laid out in the Italian style. To the left of the
entrance, at the base of an eminence planted with trees, stands the Casino
del Papa, built by Pirro IAgorio in 1560. The Casino di Leone XIII., where
that pope used to spend the hot days of summer, is situated on (lie top
of this eminence.

Museo Pio-Clbmentino. Museo Chiaramonti. Braccio Nuovo
The **Museo Pio-Cleraeatino, the real nucleus of the Vatican
collection, contains several of the most celebrated antiques. It is
divided into 11 departments, denoted by Roman numerals.

I. Sala a Croce Greca, constructed by Simonetti, under Pius VI.,
in the form of a Greek cross. On the floor are three ancient Mosaics.
By the steps, between the two sphinxes, Tlower-basket from Roma
Vecchia (p. 396). In the centre, Shield with a bust of Pallas, sur-
rounded by a blue girdle on which the phases of the moon and con-
stellations are depicted; found in 1741 in the Villa Rufflnella near
Frascati. The greater portion (the central square and the imme-
diately adjoining coloured border) is antique ; but the external four
segments of the circle are modern ; some of the original marginal
figures are now in the Thermae Museum (p. 167). At the entrance
to the following room (Sala Rotonda, p. 351): Bacchus. — We here
begin to enumerate the more important sculptures : 566. Large
sarcophagus in porphyry, of Constantia, daughter of Constantine
the Great, from her tomb, afterwards the church of Santa Costanza
(p. 389); it is adorned with vintage-scenes (perhaps in allusion to
the Vineyard of the Lord). *574. Venus, a copy of the Cnidian
Venus of Praxiteles (p. xlix), drapery of metal modern ; 578, 579.
Egyptian sphinxes (mentioned above) ; 589. Sarcophagus of St. He-
lena, mother of Constantine from her tomb at Torre Pignattara

350 IV. Right Bank. EOWC c. The Vatican:

(p. 391), transferred to the Lateran by Anastasius IV., and thence
to the Vatican by Pius VI. By the stairs : to the right, 600. Recum-
bent xiver-god, said to have been restored by Michael Angelo (op-
posite the entrance to the Egyptian Museum, p. 360).

We now ascend the staircase (with 20 antique columns from
Praeneste) leading to the right to the —

II. Sala della Biga, a circular hall with a cupola, whence the
Vatican garden can be seen.

In the centre: *623. Biga, or two-horse chariot , from which
the saloon derives its name. The body of the chariot, richly adorned
with leaves, which was used for centuries as an episcopal throne in
San Marco, and a part of the right horse (which, however, belonged
originally to another group) are alone ancient. *608. Bearded
Bacchus, inscribed 'Sardanapallos'; *610. Effeminate Bacchus. 611.
Bearded Athlete (only the body, part of the left leg, and part of the
head are antique), most probably a runner resembling Nos. 84 and
92 mentioned at p. 241. *612. Toga Statue, from the Palazzo Giusti-
niani in Venice; *615. Discobolus, of the Attic school (p. xlviii);
616. So-called Phocion, a statue of Hermes with a portrait-head
from another work. *618. Discobolus of Myron (p. xlvii); the orig-
inal was of bronze ; head modern, and inaccurately placed ; it should
have been turned towards th<) spectator, as in the much superior
replica in the Pal. Lancellotti (p. 215). 619. Roman charioteer,
with the curious straps about his body customary in races in the
circus; 621. Sarcophagus-relief, race of Pelops and (Enomaus. —
609, 613, 617. Sarcophagi, with chariot-races, the charioteers being
Cupids.

The representations of the Circus, with the Metae or turning-posts,
and the Spina or central wall,_should be noted. On the spina were placed
small sanctuaries and also the apparatus for counting the laps; on the
completion of each round one of the wooden eggs was removed from the
spina and one of the dolphins was turned round. Comp. also p. 395.

Turning to the right on leaving the Sala della Biga, straight in
front of the staircase, we reach the — •

III. Galleria dei Candelabri, a corridor 90 yds. in length,
open only on Wed., 10-3. The ceiling-paintings, by L. Seitz (1883-
1886), consist partly of incidents in the pontificate of Leo XIII.,
partly of allegorical scenes (Apotheosis of St. Thomas Aquinas ;
Arts and Sciences under the protection of the Church). The hand-
some marble pavement is new. Numerous beautiful vases in rare
marbles of various colours add a peculiar charm to this gallery.

Section I, to the right and left of the entrance : 2, 66. Birds'
nests and children; to the right, 11. Torso of a satyr pouring wine
(after Praxiteles); *19. Boy in a stooping posture, as if aiming
at scattered nuts or the like (comp. No. 497a, p. 358); to the
left, 45. Head of the above-mentioned satyr after Praxiteles; 52.
Sleeping satyr, in green basalt. — Section II: to the right, 74.

Muaeo Pio-Clementino. ROME. IV. Right Bank. 351

Fountain-figure of Pan, removing a thoin from the foot of a satyr ;
81. Diana of Ephesus, from Hadrian's Villa ; 83. Sarcophagus, with
the murder of .<Egistheus and Clytemnestra by Orestes ; 93 (to the
right) and 97 (to the left), Candelabra from Santa Costanza; to the
left, 113. Sarcophagus-relief of Protesilaus and Laodameia; *118a.
Ganymede carried off by the eagle, a copy of a celebrated work by
Leochares (p.xlix). — Section III: to the right, 131. Mosaics of dead
fish, dates, etc.; 134a. Modern copy of the circular top of a well
(puteal; now in Madrid), companion-piece to 134c. Antique puteal,
with Bacchanalian scenes; between the last two, 134b. Archaic
figure of a god, on a basis bearing a dedicatory inscription to Semo
Sancus; to the left, 149a. Hypnos, god of sleep; 148. Satyr with
the infant Bacchus. Built into the walls are eight frescoes of figures
hovering in the air, from the ancient villa at Tor Marancia in which
the mosaic mentioned at p. 359 was found. — Section IV: 157
(to the right) and 219 (to the left), Candelabra from Santa Costanza;
to the right, 162. Statuette of Nike leaning on a trophy; 173. Sar-
cophagus with Bacchus and Ariadne; 176, 178. Two replicas of
a statuette of a satyr looking at his tail ; 177. Aged fisherman ; 183.
Upper part of a statue of Cronos; *184. Tutelary Ooddess ofAntioch,
after Eutychides (p. li) ; 187. Candelabrum, with Hercules stealing
the tripod (Hercules, Apollo, priest) ; to the left, 194. Boy with a
goose, after the original by Boethos (3rd cent. B.C.); 204. Sarco-
phagus, with the children of Niobe ; 208. Marcellus (?), nephew of
Augustus. — Section V: to the right, *222. Greek Girl Racing,
after a bronze of the 5th cent. B.C. ; to the left, 246. Youthful Pan
(fountain-figure). — Section VI: to the right, 253. Sarcophagus,
with Diana and Endymion; *253c. Statuette of Proserpine; 257.
Ganymede; to the left, 264. Son of Niobe; 269. Sarcophagus, with the
rape of the daughters of Leucippus by the Dioscuri. Upon the last :
269b. Statuette of an athlete (after Polycletus) ■ *269c. /Statue of a
Fighting Persian, from the trophy of King Attalus at Athens (p. lii).
— The next gallery contains the Tapestry of Raphael, p. 346.

We now return to the staircase, descend to the Sala a Croce
Greca, and pass through it (comp. ground-plan, p. 348) to the —

IV. Sala Eotonda, erected under Pius VI. by Simonetti, after
the model of the Pantheon. The floor contains a large Mosaic, found
in 1780 in the Thermae at Otricoli, with Nereids, Tritons, Cent-
aurs, and masks. In the centre a magnificent basin of porphyry,
brought from the Villa di Papa Giulio to the Vatican in 1705 by
Clement XI. On the right and left of the entrance: 554. Julia
Domna, wife of Septimius Severus, 553. Plotina, wife of Trajan.
Then, to the left, 552. Juno Sospita, from Lanuvium (p. 442),
copy of an ancient Latin image made in the age of the Antonines ;
551. Claudius; 550. Statue of Claudius as Jupiter, from Lanu-
vium; 549. Jupiter Serapis ; 548. Nerva; on the jJedestal a fine
relief, of doubtful meaning; 547. Sea Gofl, found near Pozzuoli,

352 IV. Eight .BcM», BOMB. c. The Vatican:

perhaps a personification of the Bay of Naples or the Mediter-
ranean Sea, the ornaments of leaves and fruits indicating the
riches of the shores; *546. So-called Barberini Juno ; 545. Bust of
Antinous; 544. Hercules, colossal statue in gilded bronze (12 ft. in
height), found in 1864 concealed in a pit near the Theatre of Pompey
(p. 228); 543. Colossal head of Hadrian, in Pentelic marble, from
that emperor's mausoleum (Castello Sant' Angelo; comp. p. 314);
*542. Female statue restored as Ceres; 541. Faustina, -wife of An-
toninus Pius. 540. Antinous as Bacchus, from Hadrian's Praenestine
villa (p. 429; 'Antinous Braschi'); the unchiselled state of the body
seems to indicate that the statue was originally draped, perhaps with
metal; the present drapery, however, is modern. **539. Bust of
Zeus from Otricoli, the finest and most celebrated extant, formerly
erroneously regarded as a reproduction of the Zeus of Phidias
(p. xlvii), but really a new type of the 4th cent. B.C. Then, 556.
Pertinax; 555. Genius of Augustus. At the entrance to the next
room : 537, 538. Comedy, Tragedy, two hermae from Hadrian's Villa.

V. Sala delle Muse. We first enter an Ante-Boom. Left: *525.
Pericles; 523. Aspasia. Right: 531. Periander of Corinth; 530.
Statue, erroneously named Lycurgus ; 528. Bias, the pessimist of
the Seven Wise Men.

The magnificent Sala itself, also constructed by Simonetti under
Pius VI., is octagonal in form, covered with a dome, and adorned
with sixteen columns of Carrara marble. It derives its name from
the statues of the Muses preserved here, which, with the exception
of Nos. 504 and 520, were found with the Apollo near Tivoli in 1774,
and are probably reproductions of a group by Praxiteles or of his
sohool. In the centre of the right wall : *516. Apollo Musagetes, in a
long robe, with an air of poetic rapture, standing on an altar with a
representation of the Lares. To the left of the Apollo: 517. Terp-
sichore (Muse of dancing); to the right, 515. Calliope (epic poetry);

511. Erato (erotic poetry). Then, on the other side: 499. Melpo-
mene (tragedy) ; *503. Thalia (comedy) ; 505. Clio (history) ; *508.
Polyhymnia (higher lyric poetry). Between 503 and 505 is 504.
Female statue restored as Urania (Muse of astronomy); opposite,
520. Nymph restored as Euterpe (music). — Interspersed among
the Muses are portrait - hermas : to the left, 509. Metrodorus, the
favourite pupil of Epicurus; 507. Antisthenes, the Cynic; 506.
Demosthenes ; 502. JEschines ; 500. Zeno (?), more probably a cel-
ebrated astronomer, perhaps Aratus ; 498. Epicurus ; to the right,

512. Epimenides of Crete (?) ; 518. Hermes-bust of a Strateges of the
4th cent. B.C., erroneously named Themistocles ; 519. Plato (the
inscription 'Zeno' is modern).

Ante-Room on the other side, forming also the ante-room of the
Sala degli Animali : (right) 494. Greek portrait-hermes ; 495. Apollo
Citharoedus (restored as Bacchus) ; 496. Sophocles at an advanced
age. Left side : 492. Hermes of Sophocles, with a fragmentary in-

Museo Pio-Clementino. ROME. IV. Right Bank. 353

scription, which permitted the identification of the famous statue
in the Lateran Museum (p. 307). 490. Hermes of Diogenes; 489.
Greek war-dance, marble slab from a frieze.

VI. Sala degli Animali, containing a number of animal-pieces
in white and coloured marble, most of them freely restored. A great
part of the floor is paved with ancient mosaics.

This hall is divided into two sections by means of four granite columns,
which form a passage from the Sala delle Muse into the court of the
Belvedere (p. 365). To the Eight: 182. Head of a braying ass; :>194. Sow
and litter; 202. Colossal camel's head (fountain-spout); 208. Hercules with
Geryon; 210. Diana, badly restored; 2X3. Hercules and Cerberus. 228. Triton
carrying off a Nymph, in conception and execution recalling the rococo
works of the 18th cent., with a modern pedestal. 232. Minotaur.

To the Left : 116. Two greyhounds playing ; 113a, 125a. Mosaics from
Hadrian's Villa ; 124. Sacrifice of Mithras ; 134. Hercules with the slain Ne-
mean lion ; 137. Hercules slaying Diomedes ; 138. Centaur with a Cupid on
his back (a replica of the younger centaur in the Capitoline Museum,
p. 247); 139. Commodus on horseback (Bernini's model for the statue of Con-
stantine in the Portico of St. Peter's) ; 151. Sheep sacrificed on the altar ;
153. Small group of a goat-herd and his goats ; 157. (in the next window)
Relief of a cow and calf.

VII. Galleria delle Statue, originally a summer-house of
Innocent VIII. , and converted into a museum by Clement XIV. and
Pius VI. The lunettes and ceiling still show traces of the armorial
bearings and emblems painted for Innocent VIII. , part of the
decorative scheme executed by Pinturicchio and his pupils in 1487.
— To the right of the entrance : *250. Thanatos, god of death (' /£
Genio del Vaticano', or the 'Eros of Centocelle') , found on the Via
Labicana; on the back are traces of wings. Above, 249. Relief, er-
roneously attributed to Michael Angelo , Cosimo I. expelling the
Vices from Pisa; 251. Athlete, resembling the Doryphorus of Poly-
cletus; *253. Triton, upper part only, found near Tivoli ; 254.
Nymph; 255. Paris; 257. Selene in her chariot, in delicate relief (from
a representation of heT visit to Endymion); 259. Draped torso of
Apollo Citharcedus, incorrectly restored as Pallas (so-called Minerva
Pacifera) with the olive-branch ; 260. Greek tomb-relief, dedicated
to the gods of healing. *261. So-called Mourning Penelope, a copy
of an archaic work (head from another statue; comp. pp. 172, 358) ;
on the pedestal a relief of Bacchus and Ariadne, with Silenus ; *264.
Apollo Sauroctonus, lying in wait for a lizard, after a bronze statue
by Praxiteles; *265. Amazon, from the Villa Mattei (p. xlviii); 267.
Drunken satyr; 268. Juno, from the Therm* of Otricoli; 269. Relief
of a late period, freely restored. *271. and 390. (one on each side
of the arch which leads into the room of the busts) Posidippvs and
Menander (so-called), two admirable statues in Pentelic marble
(remains exist of the original bronze straps of the sandals). —
The visitor may conveniently quit this gallery here and inspect that
of the busts (see p. 354).

■Window-wall, beyond the Menander : 392. Septimius SeveTus.
393. Suppliant seated on an Altar, looking anxiously upward, with
Baedekeb. Central Italv. 14th Edition. 23

354 IV. Right Bank. ROME. c. The Vatican:

a fragment of a twig in her right hand; a finer replica in the Pal.
Barberini (p. 164}. 394. Neptune Verospi; 395. Apollo Citharoe-
dus, archaic; 396. Wounded Adonis (the hand of which there are
traces was probably that of a Cupid dressing the wound); 397.
Reclining Bacchus, from the Villa of Hadrian; 398. Macrinus,
successor of Caracalla. In front of the last, in the centre, a large
alabaster basin, found near Santi Apostoli. 399. ^Esculapius and
Hygieia, from Palestrina; 401. Fragments of a son and a daughter
from the group of Niobe (p. 358), found, like the Florentine statues,
near the Lateran ; 405. So-called Danaid, more probably a water-
carrier ; 406. Replica of the Resting Satyr of Praxiteles. — In the
window-niche : on the right, * Greek Stele (Athlete receiving scraper
and oil-flask froiu his attendant), found in the church of San Lorenzo
in Piscibus (p. 318) in 1902. 421. Cinerary urn of oriental ala-
baster , found, with the travertine cippi placed under the statues
numbered 248, 408, 410, 417, and 420 ; it once contained the re-
mains of a member of the imperial Julian family. End-wall : *414.
Sleeping Ariadne, found in the reign of Julius II. ; below it, *Sar-
cophagus with battle of the giants. At the sides : *412, *413. The
Barberini Candelabra, the largest and finest in existence, found in
Hadrian's Villa ; on each three reliefs, (1.) Jupiter, Juno, Mercury,
and (r.) Mars, Minerva, and Venus. 416. Relief of the forsaken
Ariadne, similar in treatment to the large statue; 417. Mercury;
420. Lucius Verus.

VIII. Hall of the Busts , in four sections. The decoration of
the ceiling dates from the reign of Innocent VIII. and is probably
due to the otherwise little known Pier Matteo d' Amelia. We begin
on the right of the entrance, in the left corner. I. Section. Below,
to the right, 283. Head of Hadrian; 277. Nero as Apollo Citharce-
dus, with laurel- wreath ; 274. Augustus, with chaplet of ears of
corn; *273. Bust of the Youthful Augustus (on a revolving stand).
Above, in the right corner, 292. Caracalla. — II. Above , 298. Zeus
Serapis, in basalt. Below, 303. Apollo; 307. Saturn, 308. Isis.
311. Head of Menelaus, from the group of Menelaus with the body
of Patroclus, found in 1772 in the Villa of Hadrian, a duplicate of
the Pasquino group (see p. 225). The legs of Patroclus (No. 384b,
by the window of the first section) were found beside this head. —
III. Above, 313, 314. Masks; 315, 316. Satyrs. In the central
niche : *326. Zeus, formerly in the Pal. Verospi. To the left above,
329. Barbarian ; below, 338. Portrait of a Diadochos as Dionysus
(holes for the horns on the head). — Once more in II: 346. Her-
cules. — IV. In the niche : 352. Woman praying, a so-called Pieta;
under it, 353. Sarcophagus, adorned with Prometheus and the Fates ;
to the left, below, 357. Antinous; *363. Hera, from an original of
the 6th cent. B.C. — In Section I, below, 376. Head of Pallas
from the Castle of Sant' Angelo ; 382, 384. Anatomical representa-
tions, in marble. In the centre, Column with three Horae. By the

Museo Pio-Clementino. ROME. IV. Right Bank. 355

entrance, to the right, *388. Roman man and woman, tomb-relief.
In the passage leading to the next cabinet : *Youthful athlete with
big slave, Greek bronze relief from the 5th cent. B. C.

IX. Gabinetto delle M&schere (adm., see pp. 150, 151), so called
from the *Mosaic within a modern border on the floor, with masks, etc.,
found in Hadrian's Villa in 1780. On the right of the entrance : *425
Dancing Girl, in Pentelic marble, found at Naples ; 427. Crouch-
ing Venus in the bath; 428. Greek votive relief. — On the entrance
wall and the opposite wall : Four reliefs of the exploits of Hercules ;
432. Satyr in rosso antico, replica in the Capitoline ; 433. Venus
drying her hair. — Window-wall : at the first window, 394. Bathing-
chair, at the second, 435. Fine vase, both of rosso antico. — In
the window, 439. Relief of Bacchanalian procession. — Entrance-
wall: 443. Apollo. ■ — The custodian sometimes opens (on request)
the Loggia Scoperta , which commands a charming view of the
mountains.

We now return to the Sala degli Animali, and enter the (left) —

X. Cortile del Belvedere (comp. ground-plan, p. 348). This
was originally a square court with truncated corners and belonged
to the Belvedere built by Innocent VIII. (p. 329), which was at
that time in direct communication with the apartments now con-
verted into the Galleria delle Statue, which afforded the beautiful
view. The inner arcade was not added until 1775, while the cabinets
at the corners received their present shape in 1803. This court con-
tains several of the most important works in the collection. The
entrance is flanked with two *Molossian Hounds. In the centre
is a fountain with ancient embouchure ; above the arcades are an-
cient masks, and by the wall sarcophagi and statues.

The First Corner Cabinet on the right as we enter from the Sala
degli Animali contains : **74. The famous group of Laocoon with
Ms two sons , strangled by serpents by command of the offended
Apollo. The elder son appears as if he might still extricate himself
from the coils, and according to one version of the myth only one
of the sons was killed. Pliny states that the group was executed
by the three Rhodians Agesander, Polydorus , and Athenodorus,
and was placed in the palace of Titus. It was discovered under
Julius II. in 1506 near the Sette Sale (p. 188), and was termed by
Michael Angelo a 'marvel of art'. The work (in Pentelic marble,
butnotof a single block) is admirably preserved, with the exception
of the three uplifted arms, which have been incorrectly restored
by Qiov. Ang. Montorsoli. Owing to the delicacy of the workman-
ship, the dramatic suspense of the moment, and the profoundly ex-
pressive attitudes of the heads, especially that of the father, this
group forms the grandest representative of the Rhodian school of
»t (p. Hi). _ Then, in the Arcade : 81. Roman sacrificial pro-
ceision from the Ara Pacis of Augustus. In the niche : 85. Hygieia.
In front, So-called Ara Casali, with reliefs referring to the fall of

23*

356 IV. Right BariK. ROME. c. The Vatican:

Troy and the origin of Rome. Farther on, 88. Roma, accompanying
a victorious emperor.

Second Corner Cabinet. **92. Apollo Belvedere, found at the
end of the 15th cent. , probably in a Roman villa neai Giotta
Ferrata (p. 410). The god seems to have originally held the bow
in his left hand, raised in a threatening manner, while in his lowered
right hand was probably a laurel branch or wreath, traces of which
may be observed on the tree-stump. See p. xlix. (Comp. 'Childe
Harold's Pilgrimage', Canto iv, line 161.) — On the left: 94. Re-
lief, Women leading a bull to the sacrifice (the left half modern).
— Then, over the door of this cabinet, outside: *Greek relief of the
Procession of Bacchus. — In the Arcade : 98, 97. Reliefs with satyrs
and griffins, from a trapezophorus (support of a table). 28. Large
sarcophagus with lions' heads, dancing satyrs, and Bacchantes,
found in 1777 while the foundations for the sacristy of St. Peter's
were being laid; 30. Sleeping nymph, a fountain-figure.

Third Corner Cabinet. Perseus, and two Pugilists, by Canova.
These were placed here in 1811, when the chief treasures of the
collection were still in Paris and when the gallery possessed only
plaster casts of the Apollo Belvedere and the Laocoon, though it is
inconceivable at the present day how they could have been thought
worthy of the honour. — In the Arcade, (right) 38. Relief of Diana
and Hecate contending with the Titans and Giants ; 39. Roman
sarcophagus, with relief of a general and vanquished barbarians.
In the niche : 42. Wife of Alexander Severus as Aphrodite.

Fourth Corner Cabinet. *53. Mercury, formerly called Antinous
of the Belvedere, after a Greek original (probably by Praxiteles) of
the end of the 4th cent. B.C.; left, 55. Relief of a procession of
priests of Isis. — Then in the Arcade : right, 61. Sarcophagus with
Nereids with the arms of Achilles; on it, *60a. Torso of a Nereid.

XI. Vestibule of the Belvedere (comp. ground-plan, p. 348).
The first section of it is the —

Atrio Rotondo. In the centre a beautiful basin of marble
(pavonazzetto). To the left, under No. 7, is a cippus with relief
of a Diadumenus, or youth placing a fillet round his head , which
conveys an idea of the famous statue of Polycletus (p. xlviii). In
the niches are three fine specimens of sculptured drapery. On the
balcony is an ancient vane, found in 1779 near the Colosseum. Fine
view hence of the Prati di Castello, the Pincio, and the Sabine
mountains beyond. — To the left is the —

Atrio del Meleagro. In the centre, *10. Statue of Meleager, of
the imperial period, found about 1500 outside the Porta Portese
(comp. p. xlix). Left, 21. Colossal bust of Trajan; 20. Large sar-
cophagus-relief, perhaps representing the river-god Tiber and build-
ings in Rome and Ostia, an over-florid work but technically remark-
able ; 22. Relief of a Roman war-ship, with two banks of oars
(biremis), from Palestrina.

Museo Chiaramonti. ROME. IV. Right Bank. 357

The custodian opens a glass dour which admits us to a balcony (fine
view), whence * Bramante 's Spiral Staircase (not accessible) may be seen.
This is the only portion of his design for the Belvedere that he quite
completed.

We now return through the fAtrio Rotondo to the —
Atrio Qua.dba.to. In the centre, *3. Celebrated Torso of Her-
cules (on a revolving stand), executed, according to the inscription,
by Apollonius of Athens, who probably lived in the 1st cent. B.C.
About 1440 this work was preserved in the Palazzo Colonna (p. 210)
and may therefore probably at one time have belonged to the dec-
oration of the Thermae of Constantine. 'In their admiration of the
torso, which has been extolled by Winckelmann in one of his
famous odes, all critics are agreed ; but many conflicting opinions
have been expressed regarding the action intended to be por-
trayed. Formerly it was usually supposed that Hercules had been
grouped with a figure standing in front of him (perhaps Hebe or
Auge) ; another conjecture was that he was alone, leaning on a
staff grasped with both hands on his left side ; while a more recent
view is that he was playing on the lyre'. More recently still the
identification as Hercules has been disputed, on the ground that the
skin beside the figure is not that of a lion. — Opposite the window,
*2. Peperino Sarcophagus of L. Corn. Scipio Barbatus, great-grand-
father of the illustrious Africanus, and consul B.C. 298, with a
remarkable inscription in Saturnine verse, recording his virtues aud
achievements. It was found in 1780 in the tomb of the Scipios on
the Via Appia (see p. 293; comp. also p. liv), at the same time as
that of his son L. Corn. Scipio, consul B. C. 259, and that of P. Corn.
Scipio (son of Africanus), flamen dialis, whose inscriptions are
built into the surrounding walls. The bust on the sarcophagus has
been groundlessly regarded as the poet Ennius.

We next enter (comp. ground-plan, p. 348) the —
*Museo Chiaramonti, arranged in one half of a corridor 22 ft.
wide and 330 yds. long, which is divided by pilasters into thirty
sections numbered with Roman numerals. The collection contains
700 sculptures in marble, many of them small and fragmentary.

[The door to the right leads to the Giardino della Pigna, to which vis-
itors are not now admitted, containing numerous fragments of statues and
reliefs. In the middle is a huge antique column, surmounted by a bronze
itatue of St. Peter, erected here in 1886 to commemorate the Council of
1870._ On the right are a colossal Pine Cone (Pigna), the work of a certain
P. Cincius Salvius (comp. p. 216), which in the middle ages adorned a
fountain in the fore-court of old St. Peter's Church (where it was seen by
Dante, Inf. xxxi, 58), and the pedestal of the column in honour of Antonin-
us Pius, which stood near Monte Citorio, adorned with the Apotheosis of
Antoninus and Faustina and the mounted procession (decursio equitum)
accompanying the imperial funeral. On the left is a colossal portrait-heart
in marble.)

As the entrance was formerly at the other end, the numbers now
begin with Section XXIX. Left, *704. Ulysses handing the goblet to
Polyphemus ; 693. Wreathed head of Hercules, after Scopas (p. xlixj.

358 IV. Right Bank. ROME. c. The Vatican:

— XXVIII. Left, 682. Colossal statue of Antoninus Pius, from Ha-
drian's Villa. — XXVII. Left, 652. Head of a Centaur; 643. Relief
of the Birth of Erichthonios (Gaea hands the child to Athena); *644.
Dancing Women, relief. — XXVI. Left, 636. Hercules and Tele-
phus; right, 638. Torso of a fleeing maiden. — XXV. Left, *607.
Head of Neptune, in Pentelic marble, from Ostia ; above, 593, 596,
594. Greek reliefs. —XXIV. Left, 588. Bacchus with a satyr ; 587.
Ganymede. — XXIII. Left, 561. Portrait -bust. — XXII. Right,
547. Isis; left, 544. Silenus. — XXI. Left, *513a. Head of Venus,
in Greek marble, found in the Baths of Diocletian; 512, 510a. Ro-
man portrait - busts ; right, 535. Head of a dying Gaul, in marble
from Asia Minor (comp. p. li). — XX. Right, 497. Representation
of a mill; 497a. Children playing with nuts (comp. No. 19, p. 350,
and statuette in the New Capitoline Collection, p. 240); left, 495.
Cupid bending his bow ; *494. Tiberius, a colossal sitting figure, found
in 1796 at Piperno. — XIX. *465. Fragment of a relief of the so-
called Mourning Penelope, of finer workmanship than the better pre-
served replica in the Galleria delle Statue (p. 353). — XVII. Right,
441. Alcibiades (?); left, 422. Demosthenes; *420. Head of Vulcan;
419, 417. Roman busts of boys. — XVI. Left, 401. Augustus, 400.
Tiberius sitting, both from Veii. — XV. Left, *372a. Greek relief
in Boeotian limestone, with fragment of a rider recalling the frieze
of the Parthenon ; above, 360. Archaic relief of three draped Gra-
ces , a copy of a very famous antique work popularly ascribed to the
philosopher Socrates (who was a sculptor in his youth), fragments
of which were found in the Acropolis at Athens. — XIV. Left, 353.
Nymph; 352. Paris. — XIII. Right, 338. Boy from a group of
talus-players ; left, above, 300. Fragment of a shield with four Ama-
zons, being a copy of the shield of Athena Parthenos by Phidias. —
XII. Left, 294. Hercules, found in 1802, restored by Canova; 295.
Torso, replica of the Hermes of Praxiteles (p. xlix); right, 297.
Athlete. • — XI. Right, 285. Apollo with the hind on his hand, arch-
aistic (i.e. in imitation of the archaic style) ; 287. Fisher-boy ; 287 a.
Greek portrait-head ; left, 263. Roman portrait-bust. — X. Right,
244. Colossal mask of Oceanus, used to adorn a fountain ; 245. Poly-
hymnia; left, 241. Goddess nursing a child (Juno Lucina, a Roman
deity). — IX. Right, *229. Two Heads of Silenus as a double hermes,
one archaic, the other Hellenistic in type ; left, 197. Head of Athena
(eyes modern), found at the ancient Laurentum ; above, 186. Greek
equestrian relief. — VIII. Right, 179. Sarcophagus of C. Junius
Euhodus and Metilia Acte , with relief of the myth of Alcestis ; left,
**176. Daughter of Niobe, headless, found at Tivoli, an admirable
Greek copy of a figure from the famous group attributed to Scopas or
Praxiteles. —VII. Right, 166. Archaic Apollo; left, 145. Youthful
head; *144. Bearded Bacchus ; 135. Head of a Roman portrait-statue.
— VI. Left, *122. Diana, Greek original of the Praxitelian period ;
121. Poetess. — V. Left, 87. Cupid with the lion's skin; 79. Frag-

Museo Chiaramonti. ROME. IV. Right Bank. 359

ment of a group of Scylla seizing a companion of Ulysses (comp. the
mosaic in the Braccio Nuovo, below) ; above, 70, *71. Greek reliefs.
— m. Right, 55. Torso of Hebe. — I. Right, 13. Winter; left, 6.
Autumn; above, 2. Apollo sitting, a relief. — To the right is the
entrance to the Braccio Nuovo (see below).

The S. half of the corridor, shut off from the Museo Chiaramonti
by an iron gate, contains the Galleria Lapidaria, which is open
to the public on the same conditions as the Appartamento Borgia
(see pp. 150, 151). It contains a collection of more than 5000
heathen and early- Christian inscriptions, begun by Clement XIV.
and Pius VI., and extended by Pius VII.; they were arranged and
built into the walls under the direction of the learned Gaetano
Marini. The gallery also contains cippi, sarcophagi , and statues.
To the right is the entrance to the reading-rooms of the library
(p. 366).

The *Braccio Nuovo (see ground-plan, p. 348), was constructed
by Raffael Stern under Paul VII. in 1821. This saloon, roofed
with tunnel-vaulting, and lighted from above, is 77 yds. long and
8Y2 yds. wide, and is embellished with fourteen ancient columns
ofcipollino, giallo antico, alabaster, and Egyptian granite. It con-
tains over 50 statues and about 90 busts. — Right, No. *5.
Caryatid, an antique copy of one of the Caryatids of the Erech-
theum at Athens, restored by Thorvaldsen (comp. No. 47, below);
8. Commodus in hunting-costume ; 9. Head of a barbarian (found
in Trajan's Forum along with Nos. 118 and 127); 11. Silenus with
the infant Bacchus; *14. Augustus, found in 1863 near Prima
Porta in the villa of Livia (p. 384) , the best extant statue of
the emperor, bearing distinct traces of painting (p. liii). In front
of it, on the floor, a mosaic from Tor Marancia: Ulysses with
Nereids and Scylla. 17. Statue of jEsculapius (without beard); *23.
So-called Pudicitia, from the Villa Mattei, head and right hand
modern; 24. Archaic head of a youth, with remains of short horns
and animal's ears, perhaps a river-god (bust modern) ; 26. Titus,
found with the statue of his daughter Julia (No. Ill, opposite)
near the Lateran in 1828 ; 27. Medusa (also Nos. 40, 93, 110 ; the
last a modern plaster-cast) from the Temple of Venus and Roma ;
38a. Satyr playing the flute; 38. Artemis; 32-36. Fountain-
figures ; 31. Priestess of Isis ; 39. (in the centre) Beautiful black vase
of basalt, with masks ; 41. Apollo Citharcedus ; 44. "Wounded Amazon.

47. Caryatid; the position of the arms and feet and the curves of
the drapery are less appropriate to the architectonic purpose of this
figure than the firm attitude and vertical lines of No. 5 (see above).

48. Trajan ; 50. Diana beholding the sleeping Endymion ; 53. Statue
of a tragic poet (the head from another statue of Euripides) ; *60.
So-called Sulla ; *62. Demosthenes, probably found near Frascati,
the ancient Tusculum (the hands holding a scroll are incorrectly
restored; they should be folded).

360 IV. Right BanS. •ROME. c. The Vatican:

Standing alone : **67. Apoxyomenos (scraper), an athlete clean-
ing his right arm from the dust of the palaestra with a scraping-iron,
after Lysippus (p. 1), found at Trastevere in 1849 (the fingers of
the right hand holding a die are modern). Then, by the second long
wall : *71 . Wounded Amazon Besting, after a work by Polycletus
(p. xlviii), arms and feet restored by Thorvaldsen; 72. Portrait of a
young barbarian chief; 81. Hadrian ; 83. Juno; 86. Fortuna with
cornucopia and rudder, fromOstia; 92. Artemis. *109. Colossal
Oroup of the Nile, surrounded by sixteen playing children (most
of them restored), emblematic of the sixteen cubits which the river
rises ; at the back and sides of the plinth a humorous represen-
tation of a battle of the pygmies with crocodiles and hippopotami.
This group was found near Santa Maria sopra Minerva in the time
of Leo X. (p. li). In the semicircular space behind it, on the right:
97a. Mark Antony (?); 97, 99, 101, 103, 105. Athletes; 106. Bust
of the triumvir Lepidus (?). On the floor behind the Nile is a mosaic
with the Ephesian Diana. By the long wall, farther on : 111. Julia,
daughter of Titus (see No. 26); *112. Head of a youthful goddess
(the so-called Juno Pentini) ; *114. So-called Pallas Gimtiniani (the
family to whom it formerly belonged), in Parian marble (comp.
p. 248) ; 117. Claudius ; 118. Barbarian ; *120. Satyr Reposing, after
Praxiteles (p. xlix ; a better copy in the Capitoline Museum, p. 246) ;
*123. Statue of an Athlete with the head of Lucius Verus from
another statue ; *126. Doryphorus, after Polycletus (p. xlviii) ; 127.
Barbarian; *132. Mercury, restored by Canova (head ancient, but
belonging to a different figure).

Egyptian Museum. *Etiiuscan Museum.
Comp. Plan, p. 348. Admission, see pp. 150, 151.

The Egyptian Museum (Museo Egizio), the entrance to which
is from the Sala a Croce Greca (p. 349), close to the steps, is below
the Etruscan Museum. The collection was founded byPiusVU.,
and though it cannot compare with those of London, Berlin, Paris,
Florence, and Turin, nevertheless contains a number of valuable
works, especially sculptures of the more recent period, not to men-
tion the admirable imitations of Egyptian works of art found in and
near Rome. Catalogue by Orazio Marucchi (1899), 5 fr.

Room I. (Saladei Sarcofagi). 1, 2. Painted wooden coffin of a, female
singer of Amnion (ca. 1000 B. C.); Mummy-shaped coffin in basalt of a con-
temporary of King Psammetikh II. (594-539 B. C); Coffins in stone and
wood. — Room II. (Sala delle Statue). 8, 26. Seated statues of the lion-
headed goddess Sekhmet; 9. Colossal head of a king, formerly thought to be
one of the Hyksos, 'shepherd-kings' who conquered Egypt about 1700 B.C. ;
10. Colossal statue of a princess of the Ptolemaic dynasty; 12, 14. Ptolemy
Philadelphus (283-247 B.C.) and his wife Arsinoe; "'16, 18. Lions couchant,
presented by the Pharaoh Nektanebos (861-345 B.C.; to a temple in Lower
Egypt; 17. Granite statue of Tu'e, mother of Ramses II. (ca. 1300 B.C.). —
To the right of the first two rooms is Room IX. (Sala dei Monument! di
Imi/azione), with sculptures modelled more or less faithfully on the Egyp-

Etruscan Museum. ROME. IV. Right Bank 361

tian style, the majority from Hadrian's Villa (p. 420): "36. Colossal statue
of Antinous ('ApolJo Egizio,J, in white marble; in the centre, 69. Canopic
vs>se of alabaster; to the right of the exit, 56. Statuette of the Nile (comp.
the statue in the Braccio Nuovo. p. 360). — Room III. (Sala del Naoforo).:
Statues, tombstones, canopi wi'h inscriptions; 70. Granite statue of King
Sethos I. (ca. 1300 B.C.), freely restored. '113. Slatue of Uza-Herresnet,
high-priest of the goddess Neith of Sais, holding before him a small shrine
(naos) of Osiris. The inscriptions mention the conquest of Egypt by the
Persians under Cambyses. — Cokridou IV. (Emiciclo): Mummies, coffins
in stone and wood (some from a grave where numerous priests of Am-
nion were interred, in the necropolis at Thebes), and tombstones. —
Room V. (Oabinetto primo delle Vetrine) : Figures of gods and sacred
animals; fayence figures of the dead, scarabs, alabaster vesiels, etc. —
Room VI. (Oabifietlo secondo delle Velrine): Mummies of sacred animals,
figures of gods and amulets, bronze censers. — Room VII. (Oabinetto
ttrzo delle Velrine): Figures of gods and the dead, amulets, scarabs. In
Case 6 is a large scarab of Amenophis III. (ca. 14' 0 B.C.), commemorating
the excavation of a lake. — Room VIII. (Gabinetlo dei Papiri): Papyri,
mostly of a religious character, in hieroglyphic and hieratic writing. —
Room X (Sala dei Monumenti Assiri) contains Assyrian Antiquities: Reliefs
from the palaces ofSargon (7^2-705 B.C.) at Khorsabad, and of Sennacherib
(705-682 B.C.) at Kouyunjik and Nineveh; Storming of a city; Raft cross-
ing a river; winged deities; cuneiform inscriptions. — Exit to the Museo
Chiaramonti (p. 357).

Ascending to the passage into which the Sala delta Biga and the
Qalleria dei Candelabri (p. 350) open, and turning to the left, up
a few steps, we reach on the right the entrance to the —

*Etruscan Museum (Museo Etruseo Oregoriano ; visitors ring at
the door; fee). The museum, founded by Gregory XVI. in 1836,
contains in its twelve rooms a number of antiquities excavated
chiefly in 1828-36 in Vulci, Toscanella, and Chiusi, and other
Etruscan cities, consisting of statues, paintings, vases, golden orna-
ments, and various domestic utensils in bronze, all extremely interest-
ing as a link in the history of Italian art, and affording some insight
into the habits of the still mysterious Etruscans. — See Helbig and
Beiseh, Antiquities in Rome, vol. ii, pp. 264-414.

I. Room : Three sarcophagi of terracotta with lifesize figures of
the deceased on the covers. On the walls, numerous portrait-heads
in terracotta, attractive from their lifelike conception of the in-
dividual peculiarities and their realistic reproduction of the same
(comp. p. mi), — n. Room, to the right. Numerous portrait-heads ;
smaller cinerary urns, some of them in alabaster, with mytho-
logical reliefs , from Chiusi and Volterra. — III. Room. In the
corners are small cinerary urns in the form of houses and huts,
found in the Italic (Latin) graves (dating from the so-called first
iron age, about the 8th cent. B. O.) between Albano and Marino.
106. Large marble cinerary urn, with partly preserved painting ;
in the hands and head of the figure are holes for the insertion of
bronze ornaments. 110. Gravestone of a certain Atecnatos, son of
Drutos, with an early-Latin and Celtic inscription, from Todi. —
IV. Room. Left wall, near the entrance : 154-156. Fine terracotta
frieze from Cerveteri ; 168. Relief in stucco of Jupiter (beardless),
Neptune, and Pluto. Fine de orative plaques of terracotta. By the

362 IV. Right Bank. ROME. c. The Vatican:

back-wall: to the left, 211, to tie right, 234, 266. Fragments of
female figures with rich drapery, from Tivoli ; 215. Lid of an urn,
with the dying Adonis, an interesting realistic work. In the middle
of the wall, at the foot, Architectonic terracotta fragment with Pegasus,
an archaic work. On the wall to the right, 265. Relief in stucco of
Venus and Adonis. In the middle, Terracotta statue of Mercury.

The next four rooms contain the Collection of Vases. Some of
these painted vessels were imported from Greece, others manu-
factured in Etruria itself, where Vulci, Chiusi, Volterra, Bomarzo,
etc., are proved to have excelled in this branch of art. The Etrus-
cans imitated the earlier Greek vases with black, as well as the later
with red figures, often without a just appreciation of the subjects,
and with an obvious preference for tragic scenes, especially murders.
In point of drawing also they are far inferior to the Greek originals.
— V. Room : Vases of the earliest style, with figures in black ; the
first are from Corinth ; from No. 12 onwards are Athenian. In the
centre, a very ancient vessel with representations of animals. —
VI. Room: In the middle, 77. Ajax with the body of Patroclus;
*78. Achilles and Ajax playing at draughts (with the name of the
manufacturer Exekias). By the window-wall are prize-amphorae of
the Panathenaean Festival at Athens; under the window to the left,
two vases with archaic Latin inscriptions. At the door, 70. Amphora
in the form of a wine-skin (askos), with two men with oil-vessels
and the inscriptions: '0 Father Zeus, would that I were rich', and:
'It is already full and even runs over'. — VII. Room: Semicircular
corridor. 136. Victorious warrior with Nike and his father. To the
left, on the wall, a number of excellent vases with red figures, in-
cluding *84. Vase with admirably- drawn figure of Achilles. Op-
posite, *134. Hector parting from Priam and Hecuba. In the niche
to the left, 89. Large vase from S. Italy, with polychrome ornamenta-
tion in gold, white, and violet, representing a funeral banquet.
Farther on to the left: 91. Death of Orpheus; 93. Minerva and Her-
cules (Vulci); 97. Apollo on a winged tripod. In the niche, *103.
Large vase, with whitish ground and coloured designs, representing
the delivery of the infant Bacchus to Silenus ; on the reverse, musi-
cians. 121. Humourous representation of the visit of Jupiter and
Mercury to Alcmene. At the exit, Vase from S.Italy, with the set-
ting out of Triptolemus. — The VIII. Room contains a large collec-
tion of graceful and delicately painted Drinking Cups (Kylikes), usually
bearing scenes from everyday life. The cabinet in the middle of the
rear wall contains small vases, some of them of irregular form. On
the second shelf from the top : to the left, Menelaus and Helen,
separated by Aphrodite ; to the right, Cock-fight. In the middle of
the next shelf, Jason and Athena. On the wall above are copies of
paintings in a tomb at Vulci, showing that Etruscan art was at this
period influenced by Greece. Below, as the inscriptions appear to
indicate, is a historical scene, an adventure of Mastarna (Servius

Etruscan Museum. ROME. IV. Right Bank. 363

Tullius) and C«les Vibenna, besides mythological representations
(Cassandra, Achilles slaying the victim for the funeral sacrifice of
Patroclus). The glass-cases helow the windows contain ancient glass
vessels, many of fine workmanship and colouring'.

We now return to the sixth room, in order thence to reach the
— IX. Room on the right, where Bronzes of every description,
domestic utensils, weapons, ornaments, etc., and jewellery are ar-
ranged. By the wall to the right, 313. Statue of a warrior, known
as 'the Mars of Todi' (p. 69) , with Umbrian inscription : Ahal
Trutitis dunum dede (i. e. Ahala Trutidius donum'dedit), proving it
to be a votive offering (3rd or 2nd cent. B. 0.). On the wall behind,
helmets, shields, mirrors with engraved designs. In the corner be-
tween the door and the window, 283. Boy with a bird, in bronze.
Then a glass-cabinet with votive objects found at the mineral springs
of Vicarello, near the Lago di Bracciano (p. 104; chiefly gold and
silver goblets); bronze vessels, rings, engraved stones. In front of
the window, *327. Oval cista of bronze from Vulci, with stamped
reliefs of Amazon battles, which when found contained articles of
the female toilet.

In the centre of the room, a cabinet with objects excavated at
Pompeii in presence of Pius IX., including a fine equestrian relief
in marble. The revolving glass-cabinet in the centre contains *Oold
Ornaments; in the upper section are arranged those found in 1829
in the Regulini-Galassi tomb at Cerveteri (p. 434), in the lower
similar objects from other Etruscan tombs. These show the great
skill and taste in workmanship of this kind to which the splendour-
loving Etruscan had attained, and the chains, wreaths, rings, etc.,
aiford models which are rarely equalled by Roman jewellers of the
present day (see Oastellani, p. 142). Many of the objects, however,
are not of Etruscan origin , but were manufactured for export in
Phoenician or Carthaginian workshops, from Assyrian and Egyptian
models. Of this kind are the three silver dishes in the upper part
of the cabinet, plated with gold and adorned with embossed scenes
(resembling articles in the Treasure of Prseneste, p. 204), and the
gold ornaments to the right and left (breastplate, bracelets, etc.),
with embossed ornamentation or fine granulated work. Opposite the
2nd window, 329. Bronze statuette of a boy with a bulla and Etrus-
can inscription. Then a brazier with tongs and poker. Opposite the
3rd window is (No. 207) a second, but less perfect cista, with en-
graving of a group of athletes. By the exit-wall : 175. Remains of
a bronze statuette ; 173. Upper portion of a portrait-statue ; in front,
205. Restored biga. 206. Arm in bronze, of admirable workmanship,
found at Civita Vecchia along with the dolphin's tail to the right of
the biga and the spear on the wall behind; all three fragments
belonged to a colossal figure of an emperor in the guise of Neptune.
In the cabinet, 170. Bronze objects of everyday use; in the corner,
145. Brazier. By the back- wall, Vessels, candelabra, cauldrons,

364 IV. Right Bank. ROME. c. The Vatican:

shields; 67. Four-wheeled censer; in front of it, 155. Brazen bed,
both of great antiquity (ca. 600 B.C.). 69. Etruscan lituus or signal-
trumpet ; 32-34. Bronze plates like shields, with heads in relief in
the middle, used as decorations for the ceilings and doors of graves.
At the door, 16. Beautiful head of a woman, in bronze. — We now
pass through a small door in the wall first described, and enter the —

X. Corridor, in which are water-pipes and small bronzes. —
Thence we enter the —

XI. Room. This contains all kinds of vases (some very ancient,
with engraved geometrical patterns) and three large sarcophagi (the
middle one painted), as well as copies of Tomb Paintings from
Corneto and Vulci, invaluable in the study of early-Italian art. The
most ancient style (down to about B.C. 450) is represented by the
paintings on the ends of the saloon (excepting the scene over the
door), which somewhat resemble early-Greek designs, but are ruder
and more destitute of expression. The next stage (after B.C. 450)
is exemplified by the designs on the long wall, where the progress
is traced which the Etruscans had made in the art of drawing and
in their ideas of the human figure, under the influence of the Greeks;
at the same time Etruscan peculiarities are observable, especially in
the heads, which are all in profile. These paintings, like the pre-
ceding, also represent games and dances performed in honour of the
dead. The third and fully-developed period is represented by the
picture, over the door, of Pluto and Proserpine (the latter full-face),
which may probably be regarded as coeval with those in the 8th
room. For economy of space several rows of these paintings are here
exhibited one above another, but in the tombs each wall was em-
bellished with a single row only. It is interesting to observe the
gradual expansion of the colour-scale. The visitor should also notice
that the paintings were intended to be seen by an artificial light, and
hence the garlands, plants, and bronzes are painted blue instead of
green. — We proceed straight on to Room XII., containing gold
ornaments, vases, and terracottas found near Viterbo. — Returning
through R. XI. , we traverse the corridor and R. IX, to the —

XIII. Room. On the left is an Etruscan tomb, with three beds,
vases, etc. ; at the entrance, two lions from Vulci. The cabinet
in the centre contains bronzes from Bolsena, including two heads
in relief of idols with the attributes of several gods; by the window,
objects in bone.

C. LrBRARY.

The Library aud the Museum of Antiques may be conveniently visited
in succession (adm., see pp. 150, 151). Entrance by the glass-door at the
bottom of the staircase to the Sala a Croce Greca (see p. 349; visitors
knock ; fee 1/2-l fr.). Entrance for readers, see p. 330. Comp. Plan, p. 318.

At a very early period the popes began to preserve and to collect
documents and thus gradually formed the Archives, which are men-
tioned for the first time under Damasus I. After various losses,

Library. ROME. IV. Right Bank. 365

caused especially by the migration to Avignon, and frequent change
of locality, most of the library is now finally established in the Vatican
in twenty-five rooms, in addition to the great library-hall. The
Archives comprise a large number of the most interesting and
important documents, especially of the middle ages, registers of the
papal acts, letters of the popes from Innocent III. downwards, and
correspondence with nuncios and foreign courts. Visitors and readers,
who require the permission of the Cardinal -Secretary, are ad-
mitted 8.30-12 on the same days as the library is open (p. 146).

Besides this collection of documents, the popes possessed their
private libraries until Nicholas V. instituted a public Library, with
9000 vols., and appointed Giovanni Tortelli as the first librarian.

The library was neglected and dispersed by his successors. Sixtus IV.
was the first to revive the institution ; he assigned the rooms under the
Appartamento Borgia for the collection, appointed Platina (1475) director,
and set apart definite revenues for its maintenance. (These premises are
now used as store-rooms and are only accessible by special permission;
they are decorated with frescoes of the school of Ohirlandajo and ad-
mirable designs painted by Melozzo da Forli). Thus endowed, the library
increased steadily, and the allotted space became more and more inadequate,
until in 1588 Sixtus V. caused the present magnificent edifice to be erected
by Domenico Fontana, intersecting the great court of Bramante. To this
ever-increasing collection several considerable libraries have been added by
purchase or donation, some of which are catalogued and preserved separately.
In 1623 the Elector Maximilian presented to the Pope the Bibliotheca Pala-
tina of Heidelberg, when that town was taken in the Thirty Years' War;
and in 1657 the Bibl. Urbinas, founded by Duke Federigo da Montefeltro,
in 1690 the B. Reginensis, once the property of Queen Christina of Sweden,
and in 1746 the B. Ottoboniana, purchased by Alex. VIII. (Ottobuoni), were
added. In 1797, 843 MSS. were carried off by the French but were restored
in 1814, with the exception of 38 from the B. Palatina which were returned
to Heidelberg. In 1816 the German MSS. (848 in number) of the same collec-
tion were also restored to Heidelberg. In 1902 Leo XIII. purchased the
Bibliotheca Barberiniana at a cost of 500,000 fr.

The Vatican Library now contains upwards of 34,000 MSS.
The principal librarian is a cardinal, who in ordinary business is
represented by the under-librarian and a prefect. Permission to use
the library (p. 146) can be obtained only from the Cardinal-Secretary
on the recommendation of the traveller's ambassador, or of a learned
institution, the applicant stating the branch of study contemplated.

Visitors first enter (by the glass-door, mentioned at p. 349, op-
posite the staircase leading to the Museum of Statuary) a long Cos-
eidoe below the Galleria dei Candelabri, divided into several rooms
and sections. — Section I : Museo Profano : To the right, by the
door: *Bronte Head of Augustus, one of the finest extant poTtrait-
heads of that emperor; left, Bronze Head of Nero; below, on the
table, a small, finely executed head of a girl. — At the entrance to
the next room, or section, are two prophyry columns from the Thermae
of Constantine (p. 177), on each of which are carved the figures of
two kings. The closed cabinets along the walls contain the Biblio-
theca Ottoboniana, the Bibliotheca Eeginensis , and the MSS. of the
Vatican library. — Continuation of the corridor, see p. 366,

366 IV. Right Bank. ROME. c. The Vatican:

We now turn to the left and enter the Great Hall, 77 yds. long,
16 yds. wide, and 29 ft. high, supported by 6 pillars, constructed by
Fontana and paved with marble by Pius IX. The paintings (of the
17th cent.), representing scenes from the life of Sixtus V., are in-
teresting on account of the views of the buildings of that pope, who
entirely altered the E. part of Rome (Rione Monti). By the walls
and round the pillars are 46 small cabinets containing the MSS. ; the
antique vases upon the cabinets are of little interest. The most
celebrated MSS. are exhibited in glass-cases: palimpsest of the
Republic of Cicero; Dante with miniatures by Giulio Clovio; the
ritual of Cardinal Ottobuoni; breviary of King Matthias Corvinus;
celebrated MSS. of the Greek New Testament (5th cent.), of Virgil
(5th cent.), and Terence (the so-called 'Bembinus'; 4th cent.); also
autographs of Petrarch, Luther, and Tasso; and a small volume of
Henry VIII.'s love letters to Anne Boleyn.

Also a number of gifts presented to the popes : Sevres candelabrum
presented by Napoleon I. to Pius VII.; a cross of malachite, from Prince
Demidoff; two vases of Berlin porcelain, presented to Pius IX. by Fred.
William IV. of Prussia after his last visit to Home; vase of Sevres porce-
lain, presented by Charles IX.; vase of Scottish granite, presented by the
Duke of Northumberland to Card. Antonelli ; font , in Sevres porcelain,
in which the Prince Imperial (d. 1879) was baptised, presented by Napo-
leon III. to Pius IX. ; malachite vase, presented by Emp. Nicholas I. to
Gregory XVI. ; three Sevres vases, a gift of Marshal MacMahon to Pius IX.;
large vase of oriental alabaster, presented by the Khedive Ibrahim Pasha
of Egypt to Pius IX. ; vases of Berlin porcelain, presented by King Wil-
liam I. of Prussia, afterwards German Emperor ; huge block of malachite,
from the Grand-Duke Constantine of Russia.

The adjoining Reading Rooms are entered from the Galleria Lapidaria
only (p. 359). In them are suspended the portraits of the cardinal-librarians,
framed papyrus-scrolls, and a facsimile of the two columns from the Trio-
pium of Herodes Atticus on the Via Appia, with an imitation of ancient
Attic characters, the originals of which are in Naples.

We now retrace our steps through the Great Hall to the Corbidor,
the continuation of which is also divided into sections. The first two
sections contain the Latin MSS. of the Palatine and Urbino Libraries.
In the first, over the entrance, is represented the Interior of Santi
Apostoli; over the egress, Interior of the old church of St. Peter;
in the second, over the entrance, the Erection of the Vatican Obelisk
by Fontana (see p. 318) ; over the egress, St. Peter's, according to
Michael Angelo's design. To the left, view of the Vatican and its
environs; statue of St. Peter, by Amalia Dupre. In the third section,
quattrocento and oriental MSS. ; various costly gifts presented to
Leo XIII. on his jubilee as priest; by the sides of the egress, two
ancient portrait-statues. — We next enter the —

Museum of Christian Antiquities. The 1st Room contains
curiosities from the catacombs and ancient church-furniture : lamps,
glasses, gems, statuettes, pictures, altar-pieces, crosses, etc., the
most interesting of which are preserved under glass. Second case
on the right : several fine diptychs and triptychs in ivory. — The
2nd Room , the Stanza de1 Papiri, with ceiling-paintings by Raph.

Library. ROME. IV. Right Bank. 367

Mengs , is filled with documents on papyrus of the 5-8th cent. ,
found at Ravenna. — The glass-cabinets of the 3rd Room contain
numerous small pictures of the 13 -15th cent. (School of Fra
Angelico, Triptych by Ant. da Viterbo, etc.), unfortunately not well
seen. On the wall of the egress , on the right, a Russian painted
calendar in the form of a cross, of the 17th cent. ; next to it, a large
cross of rock-crystal, on which the Passion is represented, by Valerio
Vicentino, presented by Pius IX. The handsome carved prie-dieu of
Pius IX. is of French workmanship. Under glass is a sumptuous
prie-dieu, presented to Leo XIII. by the Genoese. — The adjoining
room, formerly the Chapel of Pius V., adorned with frescoes by
Giorgio Vasari, and containing a Cabinet of Coins (not shown) which
was seriously pillaged in 1797 and 1849, contains a large stained-
glass portrait of Pius IX. in his papal robes. In this and the follow-
ing room are deposited also the numerous addresses which Pius IX.
received in the course of his pontificate. — To the right in the third
room is the entrance to a collection of —

Anctekt Pictures. On the floor, ancient mosaics. On the right
wall: Phaedra and Scylla; above, Ulysses and Circe; then the so-
called *Aldobrandine Nuptials, one of the finest ancient pictures in
existence, found at Rome about 1600; next to it, to the left, Warrior
in armour, found at Ostia in 1868; above it, Ulysses encountering
the Lasstrygones ; to the left, by a door, Ship being loaded, found at
Ostia. By the window, Oriental gold and silver trinkets and plate,
presented by the Emperor of Siarn to Pius IX. To the left and right
of these: Myrrha and Pasiphae. By the long wall, farther on:
the Spies of Ulysses among the Laestrygones; below, a chariot with
Cupids; to the right, sacrificial procession in front of a statue
of Artemis ; to the left, a boat mounted on a waggon, probably con-
nected with the worship of Isis (Isidis navigium). Then, Ulysses
in the infernal regions; below it, an unknown female figure and
Canace. The above-mentioned mythological figures of women cele-
brated for their misfortune in love are from Tor Marancia (comp.
p. 359). The representations from the Odyssey were found on the
Esquiline. — An adjacent cabinet contains a collection of Ancient
Brick Stamps and another of Majolica, transferred from the papal
summer-palace at Castel Gandolfo.

The Studio del Mosaico , or Papal Manufactory of Mosaic, is
under the gallery of the inscriptions ; entrance in the left angle of
the farther side of the Cortile di San Damaso (p. 330). Permessi
obtained at the Segretaria, of the Maggiordomo, on week-days from
8 to 11 o'clock. Numerous workmen are employed here in copying
celebrated pictures for churches, etc. The material used is a kind of
coloured glass, of which there are said to be 28,000 different shades.

368 IV. Right Bank. ROME. d. The Lungara :

d. The Lungara.

The Borgo is connected with Trastevere by the Via dblla Lun-
gara, 3/4M. in length, constructed by Julius II. The Borgo is
quitted by the Porta di Santo Spirito (PI. II, 9; p. 318), begun by
Antonio da Sangallo the Younger, and occupying nearly the same
site as the old Gate of the Saxons. — Immediately to the right
diverges the broad Via del Gianicolo ascending the hill in a curve.
This is the N. approach to the Passeggiata Margherita, described at
p. 379. Al the top it traverses the former garden of the convent of
Sunt' Onofrio, whither also the steep Via di Sant' Onofrio ascends
direct in 6 min. from the gateway.

Sant' Onofrio (PI. II, 9), on the slope of the Janiculum, erected
about 1430 in honour of the Egyptian hermit Honuphrius, is ad-
joined by a monastery of the order of St. Jerome. The church and
monastery are preceded by a colonnade of eight columns ; in the
lunettes to the right are three frescoes from the life of St. Jerome
by Domenichino (Baptism, Chastisement, Trance). If the church is
closed, visitors ring (r.) at the door of the monastery (*/2 fr.).

Left Side. The 1st Chapel contains the tomb of the poet Torquato
Tasso, who died in this monastery in 1595; the monument was erected by
Pius IX. in 1857, the statue is by De Fabris. In the 2nd chapel, the tomb-
stone of the linguist Card. Mezzofanti (d. 1849). — Right Side. The 2nd
chapel contains a Madonna, altar-piece by Ann. Carracci. At the end of the
right wall: monument of Archbp. Giov. Sacchi (d. 1505); in the lunette
St. Anna teaching the Madonna to read, by Pinturicchio (school-piece).
The Tribune contains restored frescoes by Bald. Ptruzzi.

The Monastery contains, in a passage on the first floor, a Ma-
donna with the donor, an admirable fresco of the school of Leonardo
da Vinci (Boltraffio?), which has unfortunately been much injured
by retouching (the attitude of the raised arm of the child, for ex-
ample, has been entirely spoiled). The cell is still shown in which
Tasso resided, when about to receive the laurels on the Capitol, and
in which he died , 25th April, 1595. It contains his bust in wax,
taken from the cast of his face, his portrait (by Balbi, 1864), auto-
graph , etc. — On the hill-slope , to the left of the monastery, are
the remains of an oak (shattered by lightning in 1842 and again
seriously injured by a storm in 1891), under which Tasso was in
the habit of sitting. Admirable view.

In the Lungara, farther on, to the left, is a suspension-bridge
(PI. II, 9, 12; toll 5 c); on the left bank rises San Giovanni dei
Fiorentini (p. 228). Opposite the bridge, in the Lungara, is the
extensive Palazzo Salviati (PI. II, 9), with a handsome court of the
16th cent., now a 'Collegio Militare' (cadet academy). The adjacent
garden includes the University Botanical Garden.

About 3/i M. from the Porta Santo Spirito and opposite the Pal.
Corsini (p. 370), to the left, is the entrance to the —

**Villa Farnesina (PI. II, 11 ; adm., pp. 150, 151 ; visitors should
bring hnntl nr-""-0), +hc- rHf n if ybiV.b t PTrtAnrHr.,* t0 tjjg Tiber,

Villa Farnesina. ROME. IV. Right Bank. 3t>y

has been greatly curtailed by the recent alterations made in the
course of the river. The small two-storied building, an exceedingly
pleasing Renaissance edifice, was erected about 1508-11 by Bald.
Perusal (?) for the papal banker Agostino Chigi, an enthusiastic ad-
mirer of art and patron of Raphael (see pp. 222, 228). In 1580
Cardinal Al. Farnese inherited the villa, which remained in the
possession of the Farnese family until the extinction of the latter
in 1731. It then passed to the King of Naples; and in 1861 it was
let by Francis II. for 99 years to the Duke of Ripalda.

From the garden we enter a hall (64 ft. long, 23 ft. wide) on the
ground-floor between two projecting wings, originally open, but now
enclosed with windows. The ceiling , with its pendentives and
spandrels, was decorated from the designs of Raphael (1516-18) by
Oiulio Romano, Francesco Penni, and Giovanni da Udine (who
executed the enclosing garlands), with twelve illustrations of the
**Myth op Psyche, which are among the most charming creations
of the master (comp. p. lxxi). Raphael has followed the account of
Apuleius, a Latin author of the 2nd cent. A.D. much read during
the Renaissance period, but has restricted himself to the incidents
that took place in Olympus. A very plausible suggestion has recently
been made that the walls were intended to be covered with re-
presentations of the much more dramatically effective scenes that
took place on earth, in Psyche's palace. But even in the absence of
the latter, and in spite of C. Maratta's unfortunate restoration which
has especially injured the blue ground, the whole produces a charm-
ing and brilliant effect owing to the indestructible beauty of the de-
signs. The room is justly regarded as unique of its kind, even in a
period so rich in noble creations of art.

The series of illustrations begins on the left, and is continued to the
right on the wall opposite the entrance. The fable of Apuleius may be
briefly told as follows. A certain king has three daughters, of whom Psyche,
the youngest, excites the jealousy of Venus by her beauty. The goddess
accordingly directs her son Cupid to punish the princess by inspiring her
with love for an unworthy individual (1). Cupid himself becomes enamoured
of her, and shows her to his hand-maidens after the king has abandoned
her to him (2 ; this is the best preserved of the paintings). He visits her
by night only, warning her not to indulge in curiosity as to his appearance.
Psyche, however, instigated by her envious sisters, disobeys the injunction.
She lights a lamp, a drop of heated oil from which awakens her sleeping
lover. Cupid upbraids her and quits her in anger. Psyche wanders about,
filled with despair. Meanwhile Venus has been informed of her son's
attachment, imprisons him, and requests Juno and Ceres to aid her in
seeking for Psyche, which both goddesses decline to do (3). She then
drives in her dove-chariot to Jupiter (4), and begs him to grant her the
assistance of Mercury (5). Her request is complied with, and Mercury
flies forth to search for Psyche (6). Venus torments her in every con-
ceivable manner, and imposes impossible tasks on her, which, however,
with the aid of friends she is enabled to perform. At length she is desired
to bring a casket from the infernal regions (7), and even this, to the astonish-
ment of Venus, she succeeds in accomplishing (8). Cupid, having at length
escaped from his captivity, begs Jupiter to grant him Psyche ; Jupiter grants
his request, kisses him (9), and commands Mercury to summon the gods
to- deliberate, and to conduct Psyche to Olympus (10). Psyche appears in

Baidehee. Central Italy. Uth Edition. 24

d(V IV. Bight Bank. KtWItE. d. The Lungara :

the assembly of the gods and Mercury hands her the draught of immor-
tality (ceiling-painting on the right). The gods celebrate the nuptial-banquet
(ceiling-painting on the left). — Below the spandrels, fourteen Cupids with
the attributes of the gods, all of whom have been vanquished by love.

The apartment adjoining the entrance hall on the left, which also
was once without the protecting -windows, contains a second mytho-
logical picture by Raphael, which is no less charming than the Psyche
series, and indeed far surpasses them in point of execution, being
painted entirely by the master's own hand in 1514: ** Galatea,
borne across the sea in a shell, and surrounded by Nymphs, Tritons,
and Cupids. To the left, Sebastiano del Piombo painted Polyphe-
mus trying in vain to move the heart of Galatea by his love-songs
(restored and ruined in the 18th cent.). The *Ceiling Paintings,
masterly in design and execution, by Baldassare Peruzzi (completed
in 1518), represent the starry heavens in a border painted to re-
semble plastic work. The large pictures present the constellation
of Perseus and the chariot, with the nymph Callisto as the charioteeT;
in the fourteen pointed arches are other constellations, and in the
ten hexagonal spaces, the twelve signs of the zodiac and the gods
of the seven planets, mostly arranged in groups. The lunettes were
afterwards filled by Seb. del Piombo with scenes from the kingdom
of the air and from metamorphoses in which human beings are
changed into birds. — The restorations carried out in 1861-70 in
this and the entrance-hall have had only a modified success.

The subjects in the lunettes are taken from Ovid's Metamorphoses
but the meaning is not in every case clear. S. end wall: 1. Tereus with
Philomela and Procne (?); 2. Daughters of Cecrops and Erichthonius. Long
wall: 3. Daedalus and Icarus; 4. Juno in her chariot drawn by peacocks;
5. Scylla betrays her father Nisus by cutting off his purple lock ; 6. Phsethon ;
7. Boreas and Oreithyia. N. end wall: 8. Flora and Zephyr; 9. Colossal
head in grisaille, wrongly ascribed to Michael Angelo. The landscapes are
erroneously attributed to Gasp. Poussin.

The Upper Flook of the Farnesina, to which, however, visitors are
seldom admitted, contains in the I. Room (Salone) fine architectural
scenes by Bald. Peruzzi (View of Rome, the Borgo, Janiculum, etc.), one
of the best examples of this kind of deceptive painting. Peruzzi also
executed the frieze of mythological scenes. Entrance-wall: Deucaiion and
the flood, Apollo and Dapune. Long wall: Venus and Adonis, Bacchus
and Ariadne, RaceofPelops and CEnomaus, Parnassus, Triumph of Venus.
Exit wall: Endymion and Luna, Cepbalus and Procris. Over the windows
(badly lighted): Bacchanalian scenes; Arion on the dolphin. Over the fire-
place : Vulcan's forge. — II. Bedroom. 'Sodoma , Marriage of Alexander
and Roxana, painted in 1511-12. The conception of this masterpiece is
based on Lucian's description of a painting by .ffition: Alexander is
conducted t.y Cupids to the nuptial couch of Roxana; Hymen and H ephfes-
tion, the groomsman, stand lost in admiration; other Cupids play with
the weapons of Alexander. — Exit-wall : Sodoma, Family of Darius in pres-
ence of Alexander — The third picture, Alexander on Bucephalus, is a poor
work by an affected Roman artist of the second half of the 16th century.

On the other side of the Lungara, opposite the Farnesina, is the
*Palazzo Corsini (PI. II, 11), formerly the property of the Riario
family, purchased for Card. Neri Corsini, nephew of Clement XII.,
in 1729, and rebuilt by Fuga. In 1668-89 it was occupied, after

Palazzo Coram. KUME. IV. Bight Bank. 371

her conversion to the Church of Rome, by Queen Christina of Sweden,
daughter of Gustavus Adolphus, who died here in 1689. In 1884 the
palace was purchased by government and assigned to the Beale
Accademia de' Lincei, or Royal Academy of Science. — A double
staircase ascends from the principal portal to the 1st floor, on which
is the —

Gallebia Nazionalb (adm., see pp. 150, 151). — In 1894 the
collection of paintings bequeathed to the city of Rome by Prince
Giovanni Torlonia (A. 1829) was removed hither from the Palazzo
Torlonia in the Piazza Venezia and united with the older Corsini
collection; a number of paintings from the Monte di Pieta (p. 230)
and the contents of the Oalleria Sciarra (p. 201) were subsequently
added, so that the Corsini Gallery now contains works of nearly
every school and period, including a few of rare merit. The earlier
stylistic school of landscape painting (Andr. Locatelli, 1660-1741)
especially is represented by good examples; and the German and
Dutch paintings, though few in number, are worthy of attention. —
Director, Prof. Ad. Venturi.

In the court to the right of the entrance-hall is a marble group,
Hercules and Lichas, one of Canova's principal works. — In the
Corridor leading from the staircase to the vestibule are antique
heads; the second on the left, Head of Hercules, after Scopas. —
Vestibule. In the centre: Psyche supported by Zephyrs, by Gibson.
At the back-wall, to the right, Dancer by Canova ; sculptures of the
school of Canova and three antique statues. To the right is the —

I. Room. On the entrance-wall: Good landscapes by Locatelli.
Back-wall, Views of Rome, by Panini. By the door, H. Vernet,
Portrait. Exit-wall, 136. Poussin, Landscape. Between the door
and the window, Views of Rome by VanviUUi ( Van Witel).

II. Room. In the middle , Antique marble chair, with reliefs
relating to war, sacrifice, and the chase. Entrance-wall : Views of
Venice by Canaletto. Left wall : 3725. Baciccio (Giov. Bait. Oaulli),
Portrait of Bernini; 197. Maratta, Holy Family; Carlo Dolci, 241.
^t. Apollonia, 229. Mary Magdalen, 243. St. Agnes. In the recess
stands the *Corsini Vase (No. 215) in silver, with the Purification
of Orestes in chased work (antique). On the walls of the recess :
204-214. Fragments of decorative paintings by Perin del Vaga, from
the old Palazzo Altoviti, which formerly stood near the Castello di
Sant' Angelo. Farther on: 395. Salvator Rosa, Battle-scene; 245,
294. Ouido Btni, Ecce Homo. To the right is the —

III. Room. 397, 400. Botari, Female heads; 186. Ribera, Old
man; 196. Mola. Homer; 244. Luca Oiordano, Christ among the
Scribes; 430, 437, 188, 730, 1099. Pictures by Guercino; *191.
Murillo, Madonna; 732. Carlo Dolci, Madonna.

IV. Room (Torlonia Collection). Netherlandish Schools. 336,
337, 342, 343. Snyders (or De Vos), Hunting- scenes; 440. Karel
duJardin, Farrier; 445. Tenters the Younger, Barrack; 499. Bern-

24*

'61^ IV. Right Bank. ROME. d. Palazzo Corsini.

brandt{f), Christ at Emmaus ; 401. Pieter de Hoogh, Lancer; 478.
Ferd. Bol, Cimon and Pera.

V. Room, said to be the one wheTe Christina of Sweden died
(p. 371). Torlonia Collection. Flemish School: 971. Rubens, Monk
(school-piece) ; 225. Rubens (?), St. Sebastian. Between the wind-
ows : 220. Van Dyck (?), Madonna.

VI. Room. *2171. Bronzino, Stefano II. Colonna (1543) ; 632.
Dosso Dossi, Portrait; 581. Venetian School, Portrait; 615. Titian,
Philip II. (school -piece; original in Naples); 584. Bugiardini,
Copy of Raphael's Leo X. in the Palazzo Pitti at Florence (with
alterations in the subsidiary figures).

VII. Room. 631. Titian, Portrait (school-piece); 659. P. Vero-
nese, Betrothal of St. Catharine (school-piece) ; 618. Cariani, Holy
Family; 623. Rocco Marconi, Christ with the Woman taken in
adultery; 627. Garofalo, Bearing of the Cross; 644. Ferrarese School
(Nic. Pisanol), Pieta; 640. Inn. da Imola, Holy Family; 648.
Ainico Aspertini, St. Pellegrinus ; 574. Bronzino, Noble Florentine
lady; 590. Rosso Florentino, Holy Family; 579. Fra Bartolomeo,
Holy Family ; 589. Bagnacavallo, Holy Family; 580. Bugiardini,
Madonna; 547. Old Copy of Titian, Venus and Adonis; 610. Bart.
Veneto, Portrait; 510. Andrea del Sarto (?), Madonna.

VIII. Room. Pietro Alemanno, 718. St. Michael, 721. St. Peter;
708. Nic. daFoligno, Triptych; 710. Palmezzano, God the Father;
729. Nic. Rondinelli, Madonna; 715. Palmezzano, St. Jerome ; 2371.
Antoniazzo Romano, Madonna enthroned, with SS. Paul and Peter;
712. Franc. Francia, St. George ; 2370. Bianchi Ferrari ('?), Agony
in the Garden ; 727. School of Perugino, St. Jerome (school-piece) ;
733. Fra Angelico da Fiesole, Last Judgment; Ant. di Alatri, Try-
ptych. In the middle, 4129. Giorgione (?), St. George and the dragon.
— To the right is the —

IX. Room (Cabinet). 752. Master of the Death of the Virgin,
Card. Bern. Clesius, Prince -Bishop of Trent; 750. Holbein (?),
Henry VIII. ; 758. Hans von Schwas, Portrait of "Wolf Tamvelder ;
733. Hans Hoffmann (end of 16th cent.), Hare (copy after Diirer);
767. Moreelse. Portrait; 1382, 1387. Pozzo, Sketches for the ceiling
of Sant' Ignazio (p. 203). — We retrace our steps and go straight
to the —

X. Room, containing the celebrated Corsini Collection of Draw-
ings and Engravings, one of the most extensive in the world. Some
of the engravings are hung on the walls, while the remainder are
shown on request on Tues., Thurs., and Sat., 10-12. Director
Dr. F. Hermanin. — The small room between this room and Room I
contains frescoes from the Palazzo Altoviti.

The Library of this palace (adm. , see p. 146; entrance by the prin-
cipal portal; traverse the open corridor to the right before the main stair-
case, and ascend the winding staircase to the 1st floor), was founded bv
Card. Neri Corsini in 1754. It contains 70,000 vols, and about 2500 MSS.

e. Trastevere. ROME. IV. Right Bank. 373

At the 8. end of the Lungara stands the Museo Torlonia (PI. II, 10;
entrance Vicolo Corsini 5), the property of Prince Son Giulio Torlonia,
containing the most extensive collection of antiquities in Rome after those
at the Vatican and the Capitol (not open to the public). The collection,
which includes over 600 objects from almost every epoch of Grteco-Roman
art, consists chiefly of the contents of the former Galleria Giustiniani, of
a number of works formerly in the Villa Albani, and of the yield of the
late Prince Torlonia's excavations. The Vesta Giustiniani (No. 490) and
the fine collection of imperial busts may be specially mentioned. Catalogue
by P. E. Visconli.

A little to the S. of the Museo Torlonia the Via della Lungara is
terminated by the Porta Settimiana (PI. II, 10), a gate in the older
wall of Trastevere. — The Via Garibaldi and the Via di Santa Maria
della Scala begin here; see pp. 377 and 375.. — The house with the
old Gothic window, at the corner of the Via di Santa Dorotea, to the
right, is pointed out as the abode of Raphael's 'Fornarina'.

e. Trastevere.

Electric Tramway from the Piazza dellc Terme via the Piazza Venezia
and the Ponte Garibaldi, see No. 9 in the Appendix.

The Janiculum (275 ft.) rises to a commanding height near the
river, the banks of which were connected in ancient times by the
Pons Sublicius, a wooden bridge, which was broken down in times
of danger. No mention of a fortification on the Janiculum is made
until near the close of the republican period. The hill was annexed
to the city by Augustus as a 14th quarter, which he named the Regio
Transtiberina. The banks of the Tiber here were bordered with
handsome villas, but the quarter always retained the character of a
suburb , and was much frequented by foreigners , particularly by
Jews , who formed a community here down to the beginning of the
16th cent. (comp. p. 232). Trastevere is now inhabited almost ex-
clusively by the working classes, among whom many well-built and
handsome persons of both sexes will be observed. The inhabitants
of Trastevere maintain that they are the most direct descendants of
the ancient Romans , and their character and dialect differ in many
respects from those of the citizens of other quarters.

The northernmost of the bridges by which Trastevere is connected
with the city is the Ponte Sisto (PI. II, 10, 13), constructed under
Sixtus IV., in 1474, on the site of the Pons Valentiniani, built in
366 A. D. by Symmachus, prefect of the city. Opposite is the
Fontanone di PonteSisto, re-erected here in 1899. This fountain was
constructed under Paul V. by Giov. Fontana in 1613 at the other
end of the bridge, whence it was removed in 1879. — To the right
the Via di Ponte Sisto leads in 3 min. to the broad Via Garibaldi, a
little on this side of the Porta Settimiana (see above), which ascends
to San Pietro in Montorio (p. 377). The side-streets to the left lead
to Santa Maria in Trastevere (p. 374).

Below the Ponte Sisto the Tiber is spanned by the Ponte Gari-

374 IV. Right Bank. ROME. e. Trastevere :

baldi (PI. II, 13), an iron bridge with two spans of 180 ft., built
in 1885-88. At the Trastevere end of the bridge is the Piazza
d'Italia, which is traversed by the main street of Trastevere, the
Via delta Lungarina, continued on the W. by the Via delta Lun-
garetta. To the left is the Torre degli Anguillxra, built in the 12th
cent, by the powerful Count Anguillara, a scion of the Orsini
family, and recently restored. With the remains of the adjoining
fortified mansion, this forms one of the largest private buildings of
mediaeval Rome.

The church of San Crisogono (PI. II, 13) is a basilica of early
foundation but frequently restored. The portico dates from the last
restoration, by Giov. Batt. Soria, in 1624.

The Interior, with a richly gilded ceiling executed at the last restor-
ation, is interesting on account of its fine old mosaic pavement, and
ancient columns, particularly the two of porphyry supporting the arch
of the choir, which are the largest in Rome. The ceiling-painting of
the transept is by the Cavaliere d'Arpino. The mosaic on the wall of
the tribune represents the Madonna between SS. Chrysogonus and James.
Fine carved stalls of 1866.

In the Via Monte di Fiore, to the E. of the Piazza San Crisogono,
an Excubitorium of the VII. Cohort of the Vigiles, i.e. a station of the
Roman firemen (p. xxxii), has been excavated at a depth of about
30 ft. (fee Y2 fr')- ^ modern flight of steps descends to a small
mosaic-paved court-yard, with a cistern in the centre, a chapel with
mural paintings (right), and several rooms, on the walls of which
are numerous rude inscriptions of the beginning of the 3rd cent. A.D.

The Via della Lungaretta leads to the right from the Piazza
San Crisogono to (5 min.) the Piazza di Santa Maria in Teaste-
vebe (PI. II, 10, 13), with a fountain and the church of —

*Santa Maria in Trastevere, which is said to have been founded
by Calixtus I. under Alexander Severus, on the spot where a spring
of oil miraculously welled forth at the time of the birth of Christ. It
is mentioned for the first time in 499, was re-erected by Innocent II.
about 1140, and consecrated by Innocent III. in 1198. The present
vestibule was added by Carlo Fontana under Clement XI. in 1702;
and a somewhat meretricious restoration of the church was carried
out in 1866-74. On the facade are Mosaics of Mary and the Child, on
each side the small figure of a bishop (Innocent II. and Eugene III.)
and ten virgins, eight of whom have burning, and two extinguished
lamps, a work of the 12th cent., freely restored in the 14th (comp.
p. lxii). The mosaics on the pediment above are modern. The vesti-
bule contains two Annunciations, one attributed to Pietro Cavallini,
but now entirely repainted, and numerous inscriptions.

The Interior (best light in the afternoon) contains twenty-two an-
cient columns of unequal sizes, supporting a straight entablature. Some of
the capitals were formerly decorated with heathen deities {e.g. Jupiter,
Harpocrates with his finger on his mouth, etc.), but these were removed
when the church was restored in 1870. The fine pavement is laid with
porphyry, verde antico, and other marbles, in the style known as Cosmato

Santa Maria. ROME. IV. Right Bank. 375

work (comp. p. lxii). The ceiling, decorated with richly-gilded carved
work, is attributed to Domenichino. The oil-painting on copper in the
centre, a Madonna surrounded by angels, is by the same master. Immed-
iately to the right of the entrance to the Nave is an elegant tabernacle
by Mino da Fiesole. The chapels of the aisles contain little to detain the
traveller. The Transept is reached by an ascent of seven steps, on which
is the inscription Fans Olei, indicating the alleged site of the spring of oil.
In the right transept are the tombs of two Armellini (1524). Opposite is
an altar erected to St. Philip and St. James by Card. Philip of Alencon ;
1. his tomb (d. 1397) ; r. tomb of Card. Stefaneschi (d. 1417), with recumbent
"Figure by iMagistev Paulus.'' — The "Mosaics in the Tribune belong to
different periods. Above are the older ones, dating like the triumphal
arch itself ('the first Romanesque work of importance in Italy') from
1139-53. On the arch : the Cross with Alpha and Omega, under the sym-
bols of the Evangelists; r. and 1. Isaiah and Jeremiah. On the vaulting
Christ and the Virgin enthroned; 1., St. Calixtus, St. Lawrence, Inno-
cent II. ; r., St. Peter, St. Cornelius, Julius, Calepodius. The lower mo-
saics are ascribed by Vasari to Pietro Cavallini, a master of the transition
period from the Cosmas family to Giotto , and have been restored hy
Camuccini. They represent the thirteen lambs and scenes from the life of
Mary, in the centre of the wall a mosaic bust of Mary with St. Peter, St. Paul,
and the donor Stefaneschi (1290). — In the chapel to the right «i the Choir
is a Madonna with SS. Eochus and Sebastian (Umbrian School). — The
Sacristy contains a fragment of ancient mosaic (ducks and lishermen, the
former admirable).

The Via di Santa Maria della Scala, to the N.W. of Santa Maria
in Trastevere, leads past the church of Santa Maria della Scala to
the Porta Settimiana (p. 373) and the beginning of the Via Garibaldi
(p. 377). — The Via di San Francesco a Ripa leads to the S.E.
from the Piazza Santa Maria in Trastevere to (6 ruin.) the church of
San Francesco a Ripa (see p. 376) ; and the Via San Cosimato leads
to the S. to (4 min.) the Piazza San Cosimato. On the S. side of
this piazza is the —

Monastery of San Cosimato (PI. Ill, 10, 13), dating partly from
the 11th, partly from the 15th cent., and since 1892 the property
of the Congregazione di Carita. The Church was built in 1475 on
the site of an early Christian basilica (9th cent.?), the small fore-
court of which is still extant. In the interior are some antique
columns and a fresco by Ant. da Viterbo (Madonna and saints). The
2nd chapel (left) contains the tomb of Lorenzo Cibo (d. 1504), which,
after the coffin had been removed, was used as an altar, by Michele
Marmo(?). It was formerly in Santa Maria del Popolo.

The Ponte Palatino (PI. II, 16), the iron bridge (p. 285) near
the Piazza Bocca della Verita, lies immediately opposite the E. end
of the Via della Lungarina (p. 374); while to the S.W. the Via dt
Vascellari and its prolongation, the Via di Santa Cecilia, lead to —

*Saata Cecilia in Trastevere (PI. Ill, 13), originally the dwelling-
house of the saint , which was converted into a church by Urban I. ,
restored by Paschalis I. in the 9th cent. , and entirely rebuilt by
Card. Franc. Acquaviva in 1725. It was thoroughly restored in
1899-1901 by G. B. Giovenale (p. 283) at the expense of Card.

376 IV. Rigid Bank. ROME. e. Trastevere:

Rampolla, titular of the church. It is approached hy a spacious
court, which is emhellished with an ancient marble vase, and by a
portico resting on four columns (two of African marble and two
of red granite).

Interior. The columns which formerly supported the nave were
replaced by pillars in 1822. To the right of the entrance is the tomb of
Card. Adam of Hertford, an English prelate (d. 1398), by 'Magister Paulus' (?);
and to the left that of the warlike Card. Fortiguerra (d. 1473) by Mino
da Fiesole (reconstructed and partly restored in 1891). — The beautiful
High Altak with columns in pavonazzetto was executed by the Florentine
Arnolfo di Cambio (1294) ; adjacent is an ancient candelabrum for the Easter-
candle; beneath the high-altar the recumbent "Figure of the martyred St.
Cecilia by Stefano Maderna. The saint had converted her husband Valeria-
nus, her brother, and even her judges, but was at length condemned to
be executed during the persecution that took place either under Marcus
Aurelius or Alexander Severus. The executioner, being unable to sever
her head from her body after three attempts, fled in dismay. Bishop Urban
interred the remains of the holy woman in the catacombs of St. Calixtus
(p. 405). In 821 Paschalis I. transferred her remains to this church. — The
Tribune contains ancient Mosaics of the period of the foundation (9th
cent.): the Saviour standing with the Gospel, 1. St. Paul, St. Agatha, and
Paschalis ; r. St. Peter, St. Valerianus, and St. Cecilia. — In the 1st Chapel,
on the right, an ancient picture of Christ on the Cross; the 2nd Chapel, a
little farther back, said to have been the bath-room of St. Cecilia, is an
antique bath, the flue-tiles of which are still seen in the wall. — The
opposite door leads to the Sacristy, the vaulting of which is adorned with
the Four Evangelists (Umbrian School) and a relief of the Madonna by Mino
da Fiesole. — On the right wall of the last Chapel are- preserved the
remains of frescoes of the 13th cent, detached from the facade of the church
(Entombment of the sainl and her Appearance to Pope Paschalis I.). —
Music on St. Cecilia's day, see p. 145.

The Lower Chukch (entrance near the tribune) contains the sepulchral
chapel of St. Cecilia and her co-martyrs ; it was gorgeously restored in the
Byzantine style in 1901. Below the nave are the remains of an ancient
building (tannery ; a niche in the wall contains a small well-preserved re-
lief of Minerva, the patroness of the industry) ; numerous Christian in-
scriptions, sarcophagi, and fragments of sculpture from the old basilica. —
Some valuable frescoes (Last Judgement) by Pietro Cuvallini (p. 375) were
discovered in 1903 in the organ-loft of the chapel belonging to the adjac-
ent Benedictine convent (admission only by special permission from the
Minister of Public Instruction).

To the S.E. of Santa Cecilia stands the extensive Ospizio di San
Michele (PI. Ill, 13, 16), founded as a poorhouse in 1689 by Tom-
maso Odescalchi. After his death it was extended by Innocent XII.,
and is now chiefly occupied by a government working-school foi
boys and girls (printing, carpet-weaving, wood-carving, etc.). Skirt-
ing the river is the Ripa Orande, with the harbour.

The Via Anicia (PI. Ill, 13), passing the choir of Santa Cecilia,
leads to Santa Maria dell' Orto, begun in 1489, continued after 1512
by Giulio Romano (facade of 1762; interior overladen with stucco
ornamentation ; tasteful font of about 1500), and to a large govern-
ment Fdbbrica de' Tabdcchi. Thence it is continued to the piazza
and church of —

San Francesco a Bipa (PJ. Ill, 13), the latter built in 1231 and
modernized in the 17th century. The last chapel on the left con-

San Pietro in Montorio. ROME. IV. Right Bank. 377

tains the recumbent statue of St. Ludovica Albertoni, by Bernini.
St. Francis of Assisi resided for some time in the adjoining mon-
astery. — To the N. W. of the piazza begins the Via di San Francesco
a Ripa (p- 375), -which leads in 6 min. to Santa Maria in Trastevere.
To the S. of San Francesco is the Porta Portese (PI. Ill, 13'),
from which the Porto road issues (see p. 434). Outside the gate is
the Trastevere Station (comp. pp. 9, 133).

The Via Gahibaldi (PL 11, 10; p. 373) leads in about 5 min.
to a small piazza, whence, to the right, the steep Via San Pancrazio
ascends direct to the Acqua Paola (see p. 379), quitting the piazza
beside the 'Bosco Parrasio degli ArcadV, the garden in which were
held the meetings of the 'Arcadia', a poetic academy of the 18th cen-
tury. On the hill above is the Spanish Academy , an institution
resembling the French (p. 159), built by A. del Herrero. The Via
Garibaldi continues to ascend in windings to San Pietro in Montorio,
the Acqua Paola, and the Porta San Pancrazio. About 80 paces from
the above-mentioned small piazza, a footpath to the right, flanked
with oratories, and ascending in steps, also leads to the church.

San Pietro in Montorio (Pl.II, 10), erected after 1472 for Ferdi-
nand and Isabella of Spain by Baccio Pintelli (or Meo del Caprino?),
on the spot where St. Peter is said to have suffered martyrdom (comp.
p. 319), stands on the slope of the Janiculum, 195 ft. above the sea-
level. The campanile and tribune were almost entirely destroyed
during the siege of 1849. If the church is closed, visitors ring at
the door on the right (25-50 c).

Eight Side. In the *lst Chapel: Scourging of Christ, painted in oil
by Seb. del Piombo from Michael Angelo's drawings in 1518; adjoining,
St. Peter on the left and St. Francis on the right ; on the ceiling the Trans-
figuration ; on the exterior of the arch two prophets with angels, in fresco,
also by Seb. del Piombo (best light about midday). The 2nd Chapel (Coro-
nation of Mary on the arch) was painted by pupils of Perugino. The altar-
piece of the 5th Chapel, Conversion of St. Paul, is by Vasari. The tomb of
Card. Ant. del Monte is by Bart. Ammanati (after 1550). — The High Altar
was once adorned by Raphael's Transfiguration (p. 345). — Left Side. The
last chapel contains an altar-piece by Daniele da Volterra (?), Baptism of
Christ; in the 4th Chapel an Entombment by Theodor van Baburen (1617), a
Dutch pupil of Carnvaggio; in the 3rd, an altar-piece and ceiling, prob-
ably by Antoniazzo Romano; in the 2nd, sculptures of the school of Ber-
nini; in the 1st, St. Francis by O. de' Vecchi. By the wall near the door,
tomb of St. Julian, Abp. of Eagusa, by O. A. Dosio, 1510.

In the court of the monastery rises the *Tempietto, a small cir-
cular building with sixteen Doric granite columns, erected in 1499-
1502, from Bramante's designs, on the spot where the cross of St.
Peter is supposed to have stood. A chapel in the interior contains
a statue of St. Peter, and below it is a second chapel (redecorated
in 1628 , according to an inscription) with an opening in the floor
indicating the spot which the cross is said to have occupied.

The piazza in front of the church commands a magnificent **Vmw

378 IV. Right Bank. ROME. e. Trastevere:

of Rome and the environs, for the orientation of which this point is
admirably adapted (comp. annexed Panorama, from 'which the omis-
sion of unimportant new erections will he no disadvantage; p. 149).
The most important places are enumerated here from right to left.
To the S. is the Tiber, which is crossed by the iron bridge of the
railway to Civita Vecchia and Leghorn ; beyond it the great basilica
of San Paolo fuori le Mura. Then part of the city-wall, in front of it
the Monte Testaccio (adjoined by the new quarter to the S.W. of the
Aventine), the pyramid of Cestius, and the Porta San Paolo. The
Tiber, which flows between us and Monte Testaccio, is not -visible
hence. On the Aventine rise the huge new Oollegio Sant' Anselmo
of the Benedictines and the three churches of Santa Maria Aventina,
San Ales sio, and Santa Sabina. Beyond are the Alban Mts., with
Mte. Cavo (3130 ft.) on the right, and Frascati on the left. On the
Caelius, the Villa Mattei and Santo Stefano Rotondo, above which, on
the extreme spur of the Alban Mts., is Colonna; between this and
the Sabine Mts., near Palestrina, the heights of the Abruzzi. Then
the Palatine, with the ruins of the palaces of the emperors and the
cypresses of the former Villa Mills, above which rise the statues on
the facade of the Lateran. Next, the Colosseum, the three huge
arches of the basilica of Constantine ; then the Capitol with the Ger-
man Archaeological Institute, the Pal. Caffarelli, the tower of the
senatorial palace, parts of the facade of the Capitoline Museum, and
of the church of Aracoeli ; the two domes with the campanile above
these belong to Santa Maria Maggiore on the Esquiline. The finely
shaped, double-peaked mountain in the extreme distance is the
Monte Velino (8165 ft.), which rises to the N.W. of the Lago di Fu-
cino. Farther on, near the cypresses, the extensive royal palace on
the Quirinal, in front of which, near a light-coloured dome, rises
Trajan's column ; more towards the foreground the church del Gesu
with its dome, beyond which is the Monte Gennaro (4160 ft.). Then,
on the Pincio, the northernmost of the Roman hills, the light Villa
Medici, and to the right of it Santissima Trinita de' Monti, rising with
its two towers above the Piazza di Spagna. Nearer, not far from the
Tiber, rises the Pal. Farnese with its open loggia. To the right of it,
the spiral tower of the University ; farther to the right, part of the
dome of the Pantheon, concealed by the dome-church of Sant' Andrea
della Valle, to the right of which the column of M. Aurelius in the
Piazza Colonna is visible. Again to the left, on the height, are the
wall and the gardens on the Pincio with the two dome-churches of
the Piazza del Popolo. Then, near the river, the Chiesa Nuova ;
beyond it the indented outline of Soracte (2266 ft.). On this side
of the Tiber rises the castle of Sant' Angelo ; beyond it, the heights
of Baccano. By the chain-bridge is the dome-covered church of San
Giovanni de' Fiorentini. Farther off, Monte Mario with the Villa
Mellini; lastly, at the extreme angle to the left, rises the dome of
St. Peter's. In Trastevere, at the foot of the hill, is the church of

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e. Passeggiata Margherita. ROME. IV. Right Bank. 379

Santa Maria in Trastevere, the light-coloured tower to the right of
which belongs to Santa Cecilia.

If we descend from San Pietro in Montorio in a straight direction,
traverse the Vicolo della Frusta to the right, and then the Vicolo della
Paglia to the left, we reach the Piazza di Santa Maria in Trastevere
(P. 374).

The Via Garibaldi continues to ascend the hill to the Acqua Paola
(PI. II, 10, 7), the ancient Aqua Trajana, which was supplied by the
Lago di Bracciano (p. 103), upwards of 30 M. distant. The aqueduct
fell into disrepair., but was restored by Fontana and Maderna in 1611
under Paul V., who decorated the great fountain with marble from the
Temple of Minerva in the Forum of Nerva (p. 274). The granite
columns were brought from the vestibule of the old church of St.
Peter; the massive basin was added by Innocent XII.

Opposite, on the right, is an iron gate forming the entrance to
the *Passeggiata Margherita (PI. II, 7, 8), opened in 1884, which
embraces the former garden of the Palazzo Corsini (p. 370) and is
often called Villa Corsini in consequence. It is continued along the
summit and slope of the Janiculum. The broad carriage-road which
traverses the gardens is flanked with busts of modern Italian celeb-
rities and leads past the imposing bronze Equestrian Statue of Gari-
baldi, by Gallori, erected in 1895. The statue, over 20 ft. in height,
stands on a tall pedestal of granite, surrounded by bronze groups : in
front, Attack on Rome in 1849 ; behind, Battle of Calataflmi in 1860 ;
on the right, America with allegorical representations of Trade and
Agriculture ; on the left, Europe with allegorical representations of
History and Genius. Farther on, to the right, is the Casino of the
Villa Lante (16th cent.). The road then descends in curves past
Tasso's oak-tree and Sant' Onofrio (p. 368), and ends at the Porta
di Santo Spirito (p. 368). From the Acqua Paola to Sant' Onofrio
is an easy walk of 15-20 minutes. The Tiews of the city and the
Campagna, especially fine at sunset, almost excel in their variety
the view from San Pietro in Montorio.

The Via di Porta San Pancrazio leads in 5 min. from the Acqua
Paola to the Porta San Pancrazio (PI. II, 7), on the summit of the
Janiculum (275 ft.), adjoining the ancient Porta Amelia. — Outside
the gate are several osterie. The church of San Pancrazio (PL III, 4),
'A M. to the left, was erected by Symmachus about the year 500, but
has been frequently restored. — In a straight direction we reach the
entrance to the —

*Villa Doria Pamphili (PI. II, III, 4, 1; admission, see pp. 150,
151 ; cabs not admitted, see p. 149), planned in the middle of the
17th cent, and skilfully adapted to the undulating character of the
ground by Algardi, at the instance of Prince Camillo Pamphili,
nephew of Innocent X., and now the property of Prince Doria. It is

380 IV. Right Bank. ROME. e. Villa Doria Pamphili.

sometimes called by the Italians Belrespiro, and the grounds are tl
most extensive and perhaps the pleasantest near Rome.

On entering, we follow the carriage-road , which passes under
triumphal arch, and leads in windings to (8 min.) a Terrace coi
manding a fine view of Mte. Mario and St. Peter's, between whi
the horizon is bounded by Soracte, and a part of the Campagna. T
iron gate on the left is the entrance to the private garden surroun
ing the Casino, built by Algardi, which contains reliefs (chiefly frc
ancient sarcophagi) and statues (no admission). Near the entran
to the casino-garden, under the trees to the right, aTe several Colm
baria (PI. II, 1), discovered in 1838, and situated on the ancie
Via Aurelia. One of them is well preserved and contains some i
teresting paintings (Prometheus delivered by Hercules, Death oft
children of Niobe, etc. ; comp. p. 293). Fee 20-30 c.

The carriage-road turns to the left beyond the casino-garden a:
skirts a meadow, carpeted in spring with anemones. In the cenl
of the latter is an altar, with seven gods and Antoninus Pins (?) hoi
ing one of the Penates. After 5 min., where the road turns to t
right, a beautiful view is obtained of the Alban Mts. and the Cai
pagna ; it then winds past some pine-trees and leads along the ba
of a (10 min.) pond with swans to the (5 min.) fountain by which
is supplied. The casino-garden may now be regained either by t
direct path, or by the carriage-road, which leads in 4 min. to the hi
houses (r.), and the pheasantry (1.), with its beautiful silver pheasan
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by Prince Fil. Andr. Doria in 1851 to the memory of the Fren
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THIRD SECTION.

ENVIRONS OF ROME.

1. Immediate Environs and the Campagna 381

a. From the Porta del Popolo (Ponte Molle. Via FlamiDia.
Via Cassia Acqua Acetosa. Villa Madama. Monte Mario),
383. — b. From the Porta Salaria (Villa Albani. Ponte Sa-
lario. Fidense), 385. — c. From the Porta Pia (Sanf Agnese
Fuori. Santa Costanza. Ponte Nomentano. Mons Sacer),
388. — d. From the Porta Maggiore (Tor de' Schiavi. Torre
Pignattara), 390. — e. From the Porta San Giovanni (Via
Latina. Porta Furba), 391. — f. From the Porta San Se-
battiano (Via Appia. Domine Quo Vadis. Deus Redicutus.
Sanf Urbano. Grotto of Egeria. San Sebastiano. Circus
of Maxentius. Csecilia Metella), 392. — g. From the Porta
San Paolo (San Paolo Fuori. Tre Fontane), 397.
The Catacombs 400

2. The Alban Mountains 407

From Rome to Frascati, 407. — Grotta Ferrata. From Rome
to Albano, 411. — Ariccia. Genzano, 414. — Lake of Nemi,
415. — Rocca di Papa, 416. — Monte Cavo, 417.

3. The Sabine Mountains 417

From Rome to Tivoli. Monte Gennaro. Hadrian's Villa,
418-420. — From Tivoli to Subiaco. Valley of the Licenza,
425. — From Rome to Palestrina, 428. — From Palestrina
to Subiaco via Olevano, 430.

4. Etruscan Towns 432

Veii, 432. - Cerveteri (Csere), 433.

5. The Sea Coast of Latium 434

Porto. Fiumicino. Ostia, 434. — Anzio. Nettuno, 438.

6. The Volscian Mountains and the Railway to Terracina 440

From Rome to Segni, 441. — From Rome to Terracina, 442.

1 . Immediate Environs and the Campagna.

The vast Campagna di Roma, bounded on the N. by the Monte
Cimino (p. 101), on the W. by the sea, on the S. by the Alban Mts.,
and on the E. by the Apennine chain of the Sabina, affords an
ample field for a number of the most interesting excursions. The
mountains with their picturesque outlines, and the wild and de-
serted plain, covered in every direction with imposing ruins, chiefly
of ancient origin, present attractions of the highest order, to which
years of study might fitly be devoted.

The Campagna in the latest tertiary period was a bay with
several islands, but owing to volcanic upheavals which took place in
a large cleft or canon at that time running parallel to the Apennines
its topography was entirely altered. Monte Cimino together with
the craters round the Lago Bracciano (p. 103) were uplifted on the
N., while on the S. gradually arose the Alban Mts. (p. 407). The

382 CAMPAGNA DI ROMA.

HJnvirons

tufa and ashes ejected from the volcanoes filled up the hay, con-
verting it into a marsh, the home of the rhinoceros, the elephant,
and the stag; while streams of lava extended almost as far as
Rome (see p. 396). The historical associations connected with this
plain are, however, of still higher interest than its natural fea-
tures. The narrow strip of land whioh stretches between the Alban
Mts. and the Tiber towards the sea is the ancient Latium, the home
of the Roman people, which victoriously asserted its superiority
over the Etruscans on the N., the Sabines on the E., and the Vol-
scians on the S. , subsequently effeoted the union of the Italian
peninsula, and finally acquired supremacy over the whole world.
Onoe a densely peopled land, with numerous and prosperous towns,
it is now a vast and dreary waste, of which barely one-tenth part is
furrowed by the ploughshare. In May, when the Malaria (p. xxv)
begins to prevail, herdsmen and cattle retire to the mountains, while
the few individuals who are compelled to remain behind lead a
miserable and fever-stricken existence. Since 1900 the Italian Red
Cross Society has come to their aid by opening stations where medical
treatment can be obtained. The cause of this change dates from so
remote a period as the last centuries of the republic, when the in-
dependent agricultural population was gradually displaced by pro-
prietors of large estates and pastures. This system inevitably
entailed the ruin of the country, for a dense population and a high
degree of culture combined with efficient drainage alone can avert
the malaria. In the middle ages the evil increased. The popes
Tepeatedly endeavoured to promote the revival of agriculture, and
the Italian government has continued their policy , but such at-
tempts cannot be otherwise than abortive as long as the land is
occupied by farms and pastures on a large scale. An entire revolu-
tion in the present system, energetically and comprehensively
carried out , will alone avail to restore the prosperity of the land.
The large estates are usually let to Mercanti di Campagna, or
contractors on a large scale. These entrust the management of
the land to a Fattore, or bailiff, who resides at the Tenuta or Casale,
as the farm-house is called. The system of tillage and the imple-
ments used have hitherto been of a very primitive character, but
modern agricultural machinery is being gradually introduced.

Excursions to the Campagna generally require at least half-a-day. Those
whose residence in Eome is sufficiently prolonged should make these excur-
sions in the plain in winter, and those among the mountains in the warmer
season. In the height of summer excursions in the plain should be made
with great caution. As far as the gates, and for 1/2 M- or more beyond
them , the roads are dull and uninteresting from being flanked by lofty
walls. A cab should therefore be taken at least as far as the gate. Fares,
see Appx. ; Carriages and Saddle Hones for the Campagna, see p. 139. —
Cycles, for which the modern roads in the Campagna are admirably adapted,
may be hired at various shops in Eome (p. lot)).

The traveller is particularly cautioned against the risk of taking cold,
owing to the great and sudden change of temperature which generally
takes place about sunset. Lying or sitting on the ground in winter, when

of Rome. PONTE MOLLE. 383

the soil is extremely cold in comparison with the hot sunshine, is also to
be avoided. In crossing the fields care should he taken to avoid the formid-
able herds of cattle, especially in spring; and the same remark sometimes
applies to the dogs by which they are watched when the herdsman is ab-
sent. For remarks on public safety, see p. xii.

The excursions are enumerated according to the order of the gates
from N. to E. and S. (comp. the annexed Map, on a scale of 1 : 75,000). —
The Italian Ordnance Maps are the best, especially those of the immediate
neighbourhood of Rome, on a scale of 1:26,000 (9 sheets; 1894). For a
careful study of the topography of the neighbourhood Nibbys lDintorni di
Roma' (3 vols., Borne, 1849) and Tomassettfs Campagna Romana (3 vols.,
Rome 1886-1900) are indispensable. Good English works are those by Burn,
Gell, etc., mentioned on p. xxvii.

a. From the Porta del Fopolo.

Tkamway to Ponte Molle, 2 M., starting just inside the gate (20 c).
One-horse carr. about 2 fr. — From Ponte Molle to Acqva Aceiosa ly, M.
— From Ponte Molle to Prima Porta 4V2 M. (one-horse carr. about 10 fr.).

Porta del Popolo (PI. I, 13), see p. 155. The Villa Borghese,
just outside the gate, is described with its art-collections at p. 190;
the museum in the Villa di Papa Giulio at p. 196.

The road from the Porta del Popolo to the Ponte Molle, the
ancient Via Flaminia, constructed in 220 B.C. by the Censor C. Fla-
minius (p. 117), is at first flanked with houses. About i/2 M. from
the gate the Vicolo dell' Arco Oscuro diverges to the right beside the
Casino of Julius III., leading to the Villa di Papa Giulio (p. 196).
A little farther on, on the right, is the little church of Sant' Andrea,
founded by Julius III. in commemoration of his deliverance from
the Germans in 1527, built by Vignola in an excellent Renaissance
style. A broad road, the Viale dei Parioli, diverges on the same
side (right), traversing the unfinished public park on the Monti
Parioli, to the Acqua Acetosa (p. 384). A few yards to the right
cf the road is an iron railing enclosing the remains of the 4th cent.
BasHica of St. Valentine, excavated in 1888. Behind it is the en-
trant to its catacombs.

A little on this side of the bridge, to the right, is a second Chapel
of Sanf Andrea, erected by Pius II. on the spot where he received,
in great state, the head of St. Andrew, brought hither from the
Peloponnesus in 1462. In the interior is a statue of St. Andrew by
Paolo Romano (1463).

We then cross the Tiber by the Ponte Molle , which was con-
structed on the foundations of the ancient Pons Milvius, or Mulvius,
built by the Censor M. ^Emilius Scaurus in B.C. 109. The four
central arches are antique. The last thorough restoration took place
in 1805, when the superstructure in the form of a triumphal arch,
designed by Valadier, was added.

Beyond the Ponte Molle are several frequented Osterie near the
tramway-terminus (see above). — The road divides. The branch to the
left is the Via Cassia (see p. 384); that to the right is the Via
Flaminia (p. 384). To the extreme left is the road coming from the

384 Envir. of Rome. ACQUA ACWwSA. P. immediate

Porta Angelica (see below) and to the extreme right, near the river,
a road leads via the (3/4 M.) Tiro Nazionale (rifle-range) to the (1 M.)
Race Course, named after the adjacent Tor di Quinto, the ruins of
an ancient tomb (fine view).

From the Via Flaminia a road diverges to the left, after about 35 min.,
to the Val di Pussino, with a picturesquely situated farm. At Due Ponte,
farther on, the road from the Tor di Quinto (see above) joins the Via Flaminia
on the right. About 1/i M. farther on, on the left side of the road, is the
vaulted tomb of Nasonivs, with traces of painted stucco-work. About 3 M.
from the Ponte Molle the Via Flaminia crosses the Valchelia, the ancient
Cremera (p. 432). A new road, diverging to the right at this point, crosses
the Tiber by a long iron bridge and joins the Via Salaria at Castel Giubileo
(p. 388; seen on the other side of the river). About 1 M. farther on the Via
Flaminia reaches the Casale di Prima Porta, with the ruins of the imperial
Villa of Livia, or Ad Gallinas, where the statue of Augustus (now
in the Vatican, p. 359) was found. A room with admirably preserved
mural paintings, representing a garden with trees and birds, is partic-
ularly interesting (30 c). The remains of another villa were found in 1892
in the adjoining Fondo Piacentini, with a fine mosaic pavement in the
Egyptian style. — Not far from Prima Porta is a station of the ancient
road, called Saxa Rubra. Here, in the plain by the river, Maxentius was
defeated in 312 by Constantine fighting under the sign of the cross
('labarum'). Maxentius was drowned in the Tiber at the Ponte Molle.

The Via Cassia, which leads via Bolsena and Chiusi to Arezzo, gradu-
ally ascends to (8'/'2 M. from Rome) La Storta (p. 104), commanding views
of the Alban and Sabine mountains and of Soracte. About 2]/2 M. from
the Ponte Molle the road passes (on the left) a sarcophagus on a ruined
base, groundlessly called the Tomb of Nero. The inscription on the back,
past which the ancient road ran , distinctly states that this monu-
ment, which dates from the 2nd cent, after Christ, was erected by Vibia
Maria Maxima to her father P. Vibius Maiianus and her mother Eegina
Maxima. At this point an ancient road diverges to the right to Veii
(p. 432), but it is not easy to find.

We may return from the Ponte Molle either via the AcquaAcetosa
or via the Villa Madama. The former route, commanding fine views
of the Sabine Mts. and of Mt. Soracte on the left, diverges to the
E. from the highroad on the left bank of the Tiber, immediately
beyond the bridge. It follows the river-bank and reaches (l'^M.)
the Acqua Acetosa, the mineral water of which (slightly chalybeate)
is much esteemed, and is sold in the streets of Rome. The well-
house, designed by Bernini, was erected under Alexander VII. in
1661. — A short distance to the S. passes the Viale dei Parioli
(p. 383), which we may follow, to the right, to the highroad from
the Porta del Popolo; or, turning to the left, we may take the
Viale della Regina, which brings us in 20 min. to the suburb out-
side the Porta Salaria (p. 388). Here we turn to the right, and
skirting the W. side of the Villa Albani, reach the Porta Salaria.

From the Ponte Molle the 'Via di Porta Angelica' follows the
right bank of the Tiber, and from it, after 3/4 M., the Vicolo Macchia
Madama diverges to the right to (V2 M0 tne Villa Madama (open
on Sat. after 9a.m.; entrance on the N.W. side), situated on
the N. slope of the Monte Mario. The villa was erected by Oiulio
Romano from Raphael's designs for Card. Giulio de' Medici, after-

Environs (N.) MONTE MARIO. Environs of Rome. 385

wards Clement VII., and subsequently came into possession of the
Princess Margaret, daughter of Charles V., from whom it derives
its name (comp. p. 220). It next belonged to the Farnese family,
and then to the kings of Naples. The villa was at one time import-
ant as a model for the arrangement of gardens in Italy, but is
now much neglected. It contains a picturesque, overgrown foun-
tain-basin, a charming loggia with mouldings and half-effaced fres-
coes by Oiulio Romano and Giovanni da Udine (1520-25), and a
room with a frieze of putti, by Oiulio Romano. Beautiful view in
front of the villa. — "We return to the Via di Porta Angelica, and
passing the barracks (caserme; PI. I, 7; p. 316), reach the Ponte
Margherita (PI. I, 14; p. 156) iu about 3/4 hr.

Monte Mario (456 ft.) was anciently named Clivus Cinnae, in the
middle ages Monte Malo, and its present name is derived from Mario
Mellini, the owner in the time of Sixtus IV. of the Villa Mellini on the
summit. This villa is now included in the Forte Monte Mario, and
visitors therefore require a permesso (to be obtained at the Dire-
zione del Genio Militare, in the Via del Quirinale, opposite the
Palazzo Rospigliosi, p. 178). The Pine of Monte Mario, to which
Wordsworth wrote a sonnet, is still preserved in the garden.
Beautiful view from the top of the hill.

The Villa Mellini and the fort are abont 2 M. from the Porta Angelica
by the Via Leone Quarto and the Via Trionfale (comp. PI I, 5, 4, 1). If we
follow the road for 3/i M. more, passing the church of Sanf Onofrio (on the
right), and then take the field-road leading back towards the left, we reach
the Valle delV Inferno, a deep ravine through which runs the railway
to Viterbo, affording an unimpeded view of the dome of St. Peter's, framed
by the Alban Mountains.

b. From the Porta Salaria.

Omnibus from the Piazza della Cancelhria to the Porta Salaria, see
No. 17 in the Appendix. — From the Porta Salaria to the Ponte Salario,
2 M. — From the Ponte Salario to the Villa Spada (Fidense), 3 M.

The Porta Salaria (PI. I, 25), which has been restored since the
bombardment of 20th Sept., 1870 (p. 165), is the starting-point of
the Via Salaria, a very ancient road, which quits Rome by the hank
of the Tiber and then turns towards the country of the Sabines. The
restoration of the gate brought to light a well-preserved ancient
monument in peperino, resembling that of Bibulus (p. 202).

On the Via Salaria, to the right, 1/4 M- from the Sate and partly
shut in by unattractive modern houses, is the —

Villa Albani (PI. I, 2^ 28), founded about 1760 by Card. Aless.
Albani, and embellished with admirable works of art with the co-
operation of the famous German archseologist V/inckelmann, who
was a friend of the founder. Napoleon I. sent 294 of the statues to
Paris, and on their restitution in 1815 some were sold there by Card.
Giuseppe Albani, in order to avoid the cost of transport, and now
adorn the Glyptothek at Munich. The villa was purchased in 1866
by Prince Torlonia and now belongs to Don Oiulio Torlonia, who

Baedekeh. Central Italy. 14th Edition. 25

386 Environs of Rome. VILLA AL,B Am. 1. Immediate

occasionally admits visitors when furnished -with a personal intro-
duction.

The buildings were designed by C. Marchionne: to the left the
Casino (PI. I, 25) with the galleries on each side ; opposite the so-
called Bigliardo, a small building flanked with cypresses ; on the
right the crescent-shaped 'Caffe' (PI. I, 28). In the ilex- avenue
beginning at the left gallery is a colossal bust of Winckelmann, by
E. Wolff, erected at the expense of King Lewis I. of Bavaria in 1857.

CASINO. Ground Floor. Vestibule. In the six niches here and on
the other side of the under-mentioned anteroom to the staircase are figures
of Eoman emperors. In the centre, 61. Sitting female figure (Faustina) ;
66. Circular Ara with a female torch -bearer (Hecate?) and the Seasons;
74. Puteal with Bacchus, Ceres, Proserpine, and three Horse; 79. Sitting
female figure. By the piers on the left and right are hermse : by the first
on the right, 52. Hermes ; by the 4th on the left, 68. Female, and on the
right, 67. Male double hermes ; by the 7th on the right, 80. Euripides. —
We now return to the beginning of the Vestibule and enter the Atrio
della Caeiatide, to the left : 16, 24. Two canephorae, found between Frascati
and Monte Porzio (baskets modern). In the centre, 19. Caryatid , by the
Athenians Criloh and Mcolaus (the names engraved on the back of the cala-
thos on the head), found in 1766 near the Csecilia Metella; on the pedestal, '20.
so-called Capaneus struck by lightning. In the Gallery adjacent, on the left:
hermse; the third to the right, 45. Scipio Africanus; to the left, 29. Epicurus.

From the vestibule we pass through a small anteroom on the left to
the Staiecase. In front of the staircase (left), 9. Roma sitting on trophies
(relief)- Adjacent, 11. Tombstone of a butcher, bearing a relief of his shop.
On the staircase, reliefs : on the first landing, (r.) 885. Death of Niobe's
Children ; (1.) 889. Sinis, the giant of the Isthmus of Corinth (?) ; third
landing, above, 898, 899. Dancing Bacchantes.

Upper Floor. I. Sala Ovale. In the centre, 905. Apollo on the tripod,
with his feet on the omphalos. To the right of the door, 906. Statue of a
youth by Stephanos , a pupil of Pasiteles (p. liii). Opposite : *915. Cupid
bending his bow, perhaps a copy of Lysippus. — On the right —

II. Galleeia Geande, the principal saloon (on the ceiling Apollo,
Mnemosyne, and the Muses, painted by Raph. Mengs). In the niches of the
entrance-wall : ,:1012. Pallas, and 1019. Zeus. Beliefs : 1004. (over the door)
Apollo, Diana, andLeto in front of the teraple of Delphi, the votive monument
of a lyre-player in memory of his victory in the Pythian games (archaistic).
Then to the left, 1013. A youth with his horse; right, 1018. Antoninus
Pius with Pax and Roma. The eight fragments of mosaic at the sides of
this door and that of the balcony, and in the four corners, are for the
most part antique. — By the left wall : 1020. Two women sacrificing ; to
the right, 1007. Dancing Bacchante. By the window-wall: 1008. Hercules
and the Hesperides; 1009. Daedalus and Icarus. Beautiful view from the
balcony of the Sabine Mts. and Monte Cavo (p. 417).

To the Right of the main saloon: III. First Room. Over the chimney-
piece : *1031. Hermes leading Eurydice back to Hades, Orpheus having
broken the conditions of her liberation ; an Attic relief of a period soon
after Phidias, an exquisite example of the nobW simplicity and calm dignity
for which ancient art is so justly celebrated. — Hermse : by the entrance-
wall, (1.) "1034. Theophrastus ; window-wall, (1.) 1036. Hippocrates; wall of
the egress, (r.) 1040. Socrates. —IV. Second Room. Wall of the entrance,
on the left: 35. Softool of Signorelli , Madonna with SS. Lawrence and
Sebastian on the left, St. James and the donor on the right; to the left of the
entrance, 45. Lunette by Cotignola : Dead Christ with mourning angels. Rear
wall : 36. Mccold (Alunno) da Foligno, Altar-piece : Madonna and saints (1475).
Wall of egress : *37. Pietro Perugino , a picture in six sections : Joseph
and Mary adoring the Infant Christ, Crucifixion, Annunciation, Saints (1491).
— V. Third Room. Rear wall : 55. Van Dyct, Christ on the Cross.

Environs (N.E.). VILLA ALB ANI. Environs of Rome. 387

To the Left of the principal saloon : VI. First Room. Over the chim-
ney-piece, "994. the celebrated Belief of Anlinous, from the Villa of Hadrian,
the only sculpture brought back from Paris in 1815. Entrance-wall: "997.
Female faun playing the flute. — VII. Second Room. To the right of the en-
trance : 980. Archaic Greek relief from a tomb. Rear wall : "985. Greek relief
in the best style, a group of combatants, found in 1764 near San Vito, from
a tomb (p. xlviii). Below it : 988. Procession of Hermes, Athena, Apollo, and
Artemis (archaistic style). By the window to the left, 970. Archaic statue
of Pallas, found near Orte ; on the right, 975. Archaic Venus. Wall of egress,
on the left: 991. Two fragments of ancient reliefs, united in the same
frame (freely restored). — VIII. Third (corner) Room : 21. Holbein (?), Por-
trait (freely retouched), 1527; 20. Raphael, So-called Fornarina , a copy
(p. 164); "18, "17. Giulio Romano, coloured designs (in oils, on paper) for
the frescoes from the myth of Psyche in the Pal. del Te at Mantua. — IX.
Fourth Room. In front of the window: "964. JSsop, perhaps after Lysip-
put, the head admirably characteristic. In the niche in the en trance- wall,
952. Apollo Sauroctonus, a bronze statuette, after Praxiteles. Opposite, 933.
Farnese Hercules, a small copy in bronze. Window-wall on the right, (r.)
942. Statuette of Diogenes. Exit-wall, (1.) "957. Small relief of Hercules ;
on the pillars at the sides a record of his exploits is inscribed (resembling
the Tabula Iliaca in the Capitol, p. 249). — X. Room with pictures of in-
ferior value. — XI. Room with tapestry.

Returning to the oval saloon, we again descend to the —
Ground Floor, and inspect the other wing of the vestibule. Here, at
the extremity to the left, corresponding to the Atrio della Cariatide, is the :

I. Atrio della Gionone. 91, 97. Two Canephorse; 93. So-called Juno. —

II. Gallery. In the niches, "103. Bacchante with the nebris; "106. Satyr
with the young Bacchus. Some of the hermse by the pillars are fine, but
arbitrarily named. — In a straight direction : III. Stanza della Colonna.
Antique columns of variegated alabaster, found at the Marmorata (p. 288).
On the left, "131. Sarcophagus with the Nuptials of Peleus and Thetis ; above,
four sarcopbagus-reliefs ; on the left, 135. Hippolytus and Phsedra ; over the
egress, 139. Rape of Proserpine ; on the right, 141. Bacchanalian procession ;
over the entrance, 140. Death of Alcestis. — IV. Passage : Bearded Bacchus
(archaistic). — V. Stanza delle Tereacotte. By the left wall, close to the
entrance: 146. Attic votive relief; 147. Greek votive relief. Beyond the
door: 157. Love-sick Polyphemus and Cupid; 161. Diogenes and Alexander.
Opposite the entrance, 164. Dsedalus and Icarus, in rosso antico. Below,
165. Ancient landscape in fresco. On the right wall, 171. Mask of a river-
god ; to the left of it, 169. Bacchus pardoning captive Indians, once in the
possession of Winckelmann ; to the right of the mask, and on the entrance
wall, several fine reliefs in terracotta. — VI. Room. In the centre, Leda
with the swan. — VII. Room. Above the entrance-door, 213. Bacchanalian
procession of children, from Hadrian's Villa, in pavonazzetto, or speckled
marble ; left, statue of a recumbent river-god ; right, 204. Theseus with the
Minotaur, found near Genzano in 1740. — VIII. Room. In the first window
to the left, 216. Relief of Hypnos, god of sleep.

An avenue of oaks, flanked with cippi (tombstones), leads from
the last-named apartments of the Casino to the —

BlGLIAKDO, containing a few unimportant antiques, and to the —
Cafpb. In the semicircular Portico, to the left: 594. Hermes of Alci-
biades (a cast from the original in the Museo Torlonia, p. 373) ; 604. Statue
of Mars; 610. Hermes of Chrysippus; 612. Apollo reposing; 628. Caryatid.
Farther on, beyond the entrance to the saloon : (1.) on a detached column,
721. Homer. Adjacent, 725. Caryatid; (r.) by the 3rd pillar, 737. Mask of
Poseidon. Obliquely opposite, (1.) 744. Archaic Greek portrait-head; (1.)
749. Statue of Persephone (Phidian period). — We now return to the
middle of the hall and enter the Ante-Room. Here, in the section to the
right, 711. Iris descending ; (1.) 706. Theseus with ^thra. In the section
to the left, 641. Marsyas bound to the tree; (1.) 639. Relief of Venus and
Cupid. Also several statues of comic actors. — Saloon: in the niche to

25*

388 Environs of Rome. POlNTE SALAKIO. 1. Immediate

the left of the door, 662. Artemis with a fawn. Below, 663. Mosaic with
meeting of seven philosophers. Corresponding to the latter, to the right of
the door, 696. Mosaic, liberation of Hesione by Hercules. To the right of
the balcony-door , 682. Ibis , in rosso antico ; 684. Atlas , bearer of the
Zodiac ; (1.) 678. Boy with large comic mask ; 676. Colossal head of Serapis,
in green basalt.

Before entering the portico of the Caffe, we may descend a flight of steps
to the left, leading to its basement. Fragments of sculpture are here built
into the walls, and a few Egyptian statues are placed in a hall.

The Via Solaria passes farther on through a new quarter with
unattractive lofty houses, most of which are still unfinished although
already in dilapidation. About 3/4 M. from the gate, the Viale della
Regina (p. 384) diverges to the left to the Monti Parioli and Acqua
Acetosa (p. 384). About 1 M. from the gate is the Osteria di Filo-
marino, whence a fine view may be obtained, especially towards
evening, of Sant' Agnese and Santa Costanza.

On the hill to the left is the Fortezza Antenne, occupying the
site of the ancient Antemnae. On the left side of the road is the
entrance to the Catacombs of St. Priscilla (p. 406). The Via Salaria
reaches the Anio about 2M. from the city-gate. The Fonte Salario
over the Anio, several times destroyed and renewed, and again
blown up during the invasion of Garibaldi in 1867, has preserved
little of the original structure. — Beyond the bridge is an ancient
tomb, built over in the middle ages.

About 5 M. from the gate is the Villa Spada. From this point to the
height on the right extended the ancient Fidenae, the ally of Veii against
Rome, subdued only after protracted struggles. The traces of the ancient
city are scarcely recognisable. The fortress lay close to the river, on the hill
which is now occupied by Gastel GiuMleo. The summit (265 ft.) affords
a beautiful and extensive view. The castle was erected by Boniface VIII.
in 1300, the first year of jubilee (hence the name). Over the iron bridge
to the Via Flaimnia, see p. 384.

The road continues to skirt the river in the plain. About 7 M. from
Rome is the railway -station of Sette Bagni (p. 97). — 9 M. the Gasale
Marcigliana. The Fosso della Bettina, which crosses the road a little farther
on, has been identified with the ancient Allia, which gave name to the
battle in which the Romans were signally defeated by the Gauls in B.C.
390. The actual battlefield, however, was on the right bank of the Tiber,
opposite the mouth of the Allia. — 12'/2 M. Railway-station of Montero-
tondo (p. 97).

c. From the Porta Pia.

Electkic Tkamwat from the Piazza San Silvestro (p. 199) to Sant' Agnese,
via the Via Venti Settembre and the Porta Pia, see No. 5 in the Appendix.
— We may reach the Porta Pia also by the electric tramway No. 10 and
the omnibus-line No. 17 in the Appendix. — From the Porta Pia to Sant'
Agnese about l!/i M. ; thence to the Ponte Nomentano and Mons Sacer, to
which point most travellers will extend their walk, also l'/4 M.

The Porta Pia (PI. I, 29), see p. 165. A new suburb is spring-
ing up outside the gate, like that adjoining the Via Salaria (see
above). Following the main road, the ancient Via Nomentana, which
crosses the broad Viale della Regina leading to the Monti Parioli
(see p. 383 and above), we pass the Villa Torlonia (on the right ;
no admittance), and reach, on the left, l'/j M. from the gate, —

Environs (E.) SANTA COSTANZA. Environs of Rome. 389

* Sant* Agnese fuori le Mura, a church founded by Constantine,
over the tomb of St. Agnes, and still retaining many characteristics of
an early-Christian basilica (p. lx). It was re-erected by Honorius I.
(625-38), restored by Giuliano della Rovere in 1479, and again
restored by Pius IX. in 1856. The principal festival, on 21st Jan. ,
is the 'blessing of the lambs' from whose wool the archiepiscopal
pallia are woven.

We enter by a gateway, where, to the right, is the entrance to the
residence of the canons, with remnants of old frescoes in the corridor of the
1st floor, dating from 1454, and including an Annunciation. In the Court,
through a large window to the right, we observe an unhappy fresco painted
in commemoration of an accident which happened to Pius IX. on 15th April,
1855. The floor of a room adjoining the church, to which his Holiness
had retired after mass, gave way, and he was precipitated into the cellar
below, but was extricated unhurt. On the farther side of the court, on
the right, is the entrance to the church, to which a Staircase with 45
marble steps descends. On the walls of the staircase are numerous ancient
Christian inscriptions from the catacombs.

The Interior (best light in the afternoon) is divided into nave and
aisles by 16 antique columns of breccia, porta santa, and pavonazzetto,
which support arches. Above the aisles and along the wall of the entrance
are galleries with smaller columns. The Tabernacle of 1614, borne by four
fine columns of porphyry, covers a statue of St. Agnes, in alabaster, a restored
antique. In the tribune, "Mosaics, representing St. Agnes between Popes
Honorius I. and Symmachus, dating from 625-638, an important illustration
of the transition to the Byzantine style, and an ancient episcopal chair.
2nd Chapel on the right: Head of Christ in marble, a mediocre work of
the 16th cent.; also a beautiful inlaid altar; above it an excellent relief
of SS. Stephen and Lawrence, by Andrea Bregno (1490), taken from an
altar presented by G. de Pereriis. In the left aisle, over the altar of the
central chapel, a fine old fresco, Madonna and Child. — The Catacombs
(see p. 406), to which there is an entrance in the left aisle, are shown by
the sacristan, from whom lights are also obtainable (1 fr.). Not more
than five persons are admitted at once.

On leaving the staircase which descends to Sant' Agnese, we pro-
ceed a few paces straight on and then descend to the right, to —

Santa Costanza (if closed , apply to the custodian of Sant'
Agnese, 30-50 c), originally erected as a monument by Constantine
to his daughter Constantia, but converted into a church in 1256.
The dome, 74 ft. in diameter, is borne by twelve pairs of columns of
granite. A few fragments only of the vestibule and the wall of the
central part of the edifice now exist. In the tunnel-vaulting of the
aisle are blue * Mosaics of the 4th cent, on a white ground, with
genii gathering grapes, birds, etc., in the ancient style, but bearing
traces of decline. The porphyry sarcophagus of the saint (now in
the Vatican Museum, p. 349), is similarly adorned. The mosaics
in the niches are less interesting : Christ as the ruler of the world
with apostles, trees, and lambs. — For the Coemeterium Ostrianum,
l/i M. from this point, see p. 406.

About 2i/2 M. from the gate the road crosses the Anio by the
Ponte Nomentano , an ancient bridge which has been frequently
restored. It is surmounted by a mediaeval tower. Beyond the bridge
is a hill, conjectured to be the Mons Sacer rendered famous by the

390 Environs of Rome. TOR DE' SCHIAVI. 1. Immediate

Secession of the Plebs in B. 0. 494; at its foot an osteria. Pretty view
from the top, especially to the E. over the winding course of the
Teverone and the pine-surrounded farm of Casal de' Pazzi.

At the Vigna Galloni, about 2 M. frrim the Ponte Nomentano by the
'Strada delle Vigne Nuove', are the insignificant remains of the lonely Villa
of Phaon, where the Einp. Nero came to his miserable end in 6S A. D. A
tablet to the memory of Claudia Eel (ge, the emperor's faithful nurse, was
found here during recent excavations and is now replaced by a fac-simile.

About 4 31. beyond the bridge are the Oratorio and Catacombs of Sanf
Alessandro (p. 403). A little beyond the Catacombs a road to the right
diverges to Palombara (p. 418). — The road to the left leads to Mentana,
a village belonging to the Borghese family , near the ancient Nomentum,
14 M. from Rome , known from the battle that took place here on 3rd
Nov., 1867 (p. 97). Thedistrict is extremely bleak, but affords beautiful
views of the Sabine Mts. From Mentana to Monte Rotondo 2 M. , (at the
foot of which the railway-station of the same name is situated (p. 97).

d. From the Porta Maggiore.

Tramway to the Porta Maggiore, see No. 13 in the Appendix.

Two roads issue from the Porta Maggiore (PI. II, 34; p. 185) : to
the left the Via Prasnestina, to the right the Via Casilina (Via Labicana).

The ancient Via. Praenestina, or Palestrina road (p. 428), to
the left, is little frequented. About 1 M. from the gate the vineyard-
walls cease. Numerous ruins of tombs on the right indicate the
direction of the ancient route , which, lying higher, affords a freer
view than the present lower level of the road, and may be reached
by crossing the fields. About 2'/o M. from the city-gate is the Tor
de' Schiavi , the scanty ruins of an extensive edifice, referred to
the time of Diocletian by the brick-stamps found here.

First, to the left of the road, is a Hexagonal Domed Structure, almost
entirely fallen to decay. A column in the centre and the additional erection
on the summit, both mediaeval, impart a grotesque appearance to the place.
— Farther on is a Circular Building with niches and dome, used in the
middle ages as a church , with now nearly obliterated frescoes ; below,
entered from the back, is a vault supported by strong pillars in the centre.
Both these buildings are supposed to have belonged to baths. — Among
the extensive ruins on the right of the road are a few Columbaria (p. 293).

The Via Collatina , diverging here to the left, skirts the Acqua
Vergine and leads to Lunghezza (p. 418). — Beyond this point the
Via Praenestina offers little of interest.

On the Via Prienestina, 3i/2 M. from the gate, are the ruins of Tor
Tre Teste and Tor Sapienza, the so-called Villa of the Qordiani. About 3'/aM.
farther on the road crosses the Foiso di Ponte di Nona by an ancient bridge
of seven arches. Near the Osteria dell' Osa, 2 M. farther on, to the left
of the road, is the site of the ancient Gabii, on the bank of the drained
Lago di Casiiglione. Some ruins are visible near the conspicuous tower
of Casiiglione, the most interesting of which are the hewn stone remains
of the celebrated temple of Juno Gabina.

At the Osteria dell' Osa the ancient Via Pricneatina turned to the right
towards (6 II.) Gallicano (see below), but the modern road bends to the N.E.
and forks at the foot of the mountain, the left arm leading to the Via
Tiburtina, which it reaches at the Ponte Lucano (p. 419), the right arm,
passing Corcolle and Patierano, to Gallicano, the ancient Pedum (10 M. from
the Osteria dell' Osa). The ancient and modern roads unite just before
the last-named place at the Osteria di Cavamonle, the name of which recalls
the cutting, 65 ft. deep, made fur the old road in the tufa rock. The

Environs (E.). VIA LATIN A. Environs of Rome. 391

Aqua Claudia (p. 185) passes over it. The road finally leads past the
monastery of San Pastore to (5V2 M.) Paleslrina (p. 428).

The road leading to the right from the Porta Maggiore, the an-
cient Via Labicana, now called Via Casilina , is more frequented
than the preceding. On this road, 13/4 M. from the gate, are
situated the remains of the octagonal Tomb of the Empress Helena,
whose sarcophagus found here is now preserved in the Vatican
(p. 349). The building, which has been fitted up as a small church
(Santi Pietro e Marcellino ; catacombs, see p. 406), is named Torre
Pignattara from the 'pignatte', or earthenware vessels used for the
sake of lightness in the construction of the vaulting, as was cus-
tomary during the empire; it is otherwise uninteresting. Several
tufa-quarries are worked in the neighbourhood.

About 8 M. from the gate, near the Ponte delta Catena, is a modern
aqueduct, the Aequo, Felice (p. 165). Farther on, to the left, are remains
of the arches of the ancient Aqua Alexandria. A lake, now drained, to
the left of the road, at the foot of the Monte Falcone, is supposed to be
the famous LakeRegillut, where the Romans defeated the Latins (B. C. 496).

e. From the Porta San Giovanni.

Tramways and Omnibuses to the Lateran, see Nos. 3, 11, and 18 in the
Appendix. — Teamway from Porta San Giovanni to the Vicolo delle Cave,
about 1 M. short of the tombs, every l/t hr. in 8 min. (10 a). This tramway
will be continued to Grotta Ferrata (p. 410), Frascati (p. 408), Marino (p. 411),
Castel Gandolfo (p. 412), Albano (p. 413), Ariccia (p. 414), and Genzanu
(p. 414). — A carriage-road leads from the tombs to the Porta Furoa (p. 392)
in 6-7 minutes.

From the Porta San Giovanni (see p. 311, and comp. PI. Ill, 31")
runs the road leading to the Alban Mts., dividing at the Osteria
del Quintale (formerly Baldinotti), 5 min. from the gate, into the
Frascati road (to the left) and the Marino and Albano road (to the
right). The former is the ancient Via Tuscolana. The latter, known
as the Via Appia Nuova, crosses the railway to Civita Vecchia about
lli M. farther on, and after about 1 M. from the gate, intersects the
ancient Via Latina, which began at the former Porta Latina (p. 293),
enters the valley of the Sacco (p. 441) between the Alban and the
Sabine Mts., and ends at Capua. Like the Via Appia and the other
roads emerging from Rome, it was flanked by tombs on both sides.

We follow the Via Latina, cross the line to Albano (p. 411),
and in 5 min. reach two *Ancient Tombs, interesting on account of
their tasteful decorations. The custodian is on the spot from noon
to sunset, except in"midsummer (fee 72fr\; for a party 1 ft.).

The 1st Tomb, Tomba del Valerii, to the right of the road , with the
two recently-restored Roman pilasters, consisted of an anterior court and
subterranean tomb , over which rose the now re-erected sacellum with
two columns. The interior of the chamber is decorated with interesting
reliefs in stucco: sea-monsters, nymphs, and genii.

The 2nd Tomb, Tomba del Paneratii, under a shed opposite, contains
in its single chamber landscapes framed in stucco ornaments and four
stucco reliefs (Judgment of Paris, Alcestis, Priam and Achilles, Hercules
playing the lyre before Bacchus and Minerva). The 'Paneratii' were one
of the burial societies common in the 3rd and 4th cent., but the plan and
arrangements of the tomb prove that it dates from the 2nd century.

392 Environs of Rome. PORTA FURBA. 1. Immediate

The other tombs are interesting only for their brick ornamentation
(Corinthian pilaster-capitals and cornices).

In the immediate vicinity are the foundation-walls of a Basilica, de-
dicated to St. Stephen in the 5th century. The custodian of the tombs
keeps the key. Fine view of the Alban Mts.

Pedestrians may reach, the Via Appia Antica (about 1 M.) hence
by following the Strada Militare, or military road, which crosses the
Via Latina immediately before (to the W. of) the railway, then the
Via Appia Nuova 3 min. to the S., and finally the Via Appia Pig-
natelli (p. 394), 3/4M. farther on. It strikes the Via Appia Antica
not far from the tomb of Csecilia Metella (p. 396). Between the
Via Appia Nuova and the Strada Militare lie the cold mineral-baths
of Acqua Santa (rail, station, see p. 411).

PoHTA FllRBA. This excursion of 2-3 hrs. is pleasanter than maDy
others, as the view is obstructed by walls for short distances only (cab
thither from the gate and back, 3-4 fr.).

From the Porta San Giovanni we proceed straight on for 5 min.
(see p. 391), and at the Osteria del Quintale we take the Frascati road
(Via Tuscolana) to the left, which crosses successively the (1 M.)
railway to Civita Vecchia, the (3/4 M.) railway to Albano, and imme-
diately beyond the latter, the Strada Militare (see above). To the left
runs the unbroken series of arches of the Acqua Felice (p. 165), and
in front of them occasionally appear the imposing remains of the Aqua
Claudia (p. 185) and Aqua Marcia, running one above the other. The
Aqua Marcia, 56 M. long, constructed by the Praetor Q. Martius Rex
in B.C. 146 , and restored in 1869, brings a supply of water from
the Sabine Mts. To the right, a view of the Via Appia with the
tomb of Caecilia Metella.

About 2 M. from the gate we reach the so-called Porta Furba,
an arch of the Acqua Felice, under which the road leads. An exqui-
site view is enjoyed hence of the Campagna and the Alban Mts., and
a little farther on, the Sabine Mts. also come in sight. Below runs
the railway to Naples and Terracina. — About ^ M. farther on rises
the Monte del Qrano, which commands a fine *Panorama. A long
shaft leads to an ancient circular tomb-chamber in the interior of
this hill, where the so-called sarcophagus of Alexander Severus
(now in the Capitoline Musem, p. 245) was found.

f. From the Porta San Sebastiano.

The excursion to the Via Appia by carriage, including halts, re
quires 3-3'/2 hrs., returning via, the tombs on the Via Latina (p. 391),
4 hrs. An exact bargain should be made with the driver on the basis of
the tariff for drives outside the city (comp. p. 4 of the Appx.). Good walk-
ers take 25 min. from the Arch of Constantine to the Porta San Sebastiano;
from the gate to the Catacombs of St. Calixlus, 25 min. ; thence to the
beginning of the excavated portion of the ancient Via Appia, 20 min. ; to
the Casale Rotondo, 40 min. more. — The traveller is recommended to
drive to the Porta San Sebastiano at least (one-horse cab ly^ fr.), or,
still better, as far as the Catacombs of Calixtus, a visit to which is
conveniently combined with this excursion, and to walk thence to the

Environs (S.E.). VIA APPIA. Environs of Rome. 393

Casale Rotondo and back to the tomb of Csecilia Metella ; thence follow
the Strada Militare to the right to (20 min.) the Via Appia Nuova and the
tombs on the Via Latina (p. 391); and finally return by the Porta San
Giovanni to the Piazza di San Giovanni in Laterano (p. 302) where tram-
ways and omnibuses are to be found, a walk of about 3 hrs. in all from the
Catacombs to the Porta San Giovanni. — The Rome, Marino, and Albano rail-
way (p. 411) may also be used in either direction, to or from the stations
of Capannelle or Acqua Santa on the Via Appia Nuova, whence the Via
Appia Antica is easily reached.

The route by the Via di Porta San Sebastiano to the Porta San
Sebastiano (PI. Ill, 30), and the ruins and buildings situated
near it, are described at pp. 291 et seq.

The *Via Appia, the military road constructed by the censor
Appius Claudius Caecus (in B.C. 312), led through the ancient Porta
Capenafa. 291), via, Terracina (p. 446), to Capua, whence it was
afterwards extended to Beneventum and Brundisium. In 1850-53
it was excavated as far as the 11th milestone, where it is now
intersected by the railway to Terracina and Nettuno (p. 442). Even
at the present day the Via Appia merits its proud ancient title of
the 'queen of roads'. It affords perhaps the finest of all the shorter
excursions from Rome. As far as the church of San Sebastiano the
road is flanked on both sides by vineyard walls, but beyond that
point we enjoy a magnificent prospect, embracing the Campagna,
the ruins of the aqueducts, and the mountains, while numerous an-
cient tombs are situated on each side of the road. Very few of the
latter are preserved intact; but the remains of others have been
carefully restored and enclosed.

The road descends from the Porta San Sebastiano by a declivity
corresponding with the ancient Clivus Martis , and after 4 min.
passes under the railway to Civita Vecchia and Leghorn. It then
(3 min.) crosses the brook Almo (p. 394), where ruins of tombs
are observed on both sides. The Via Ardeatina now (5 min.) diverges
to the right ; and on the left stands the small church of Domine
Quo Vadis, so named from the legend that St. Peter, fleeing from
the death of a martyr, here met his Master and enquired of him,
'Domine quo vadis ? ' to which he received the reply, 'Venio iterum
cruciflgi'; whereupon the apostle, ashamed of his weakness, returned.
A copy of the footprint which Christ is said to have impressed on
the marble is shown here (original at San Sebastiano, p. 395). —
By a small circular chapel, a few hundred paces beyond the church,
a field-road (Vicolo della Caffarella) diverges to the left.

This field-road, which is very muddy after rain, leads for »/* M- be-
tween hedges. On reaching the open fields, we follow the road descend-
ing to the left to the mill. Near the latter is situated the so-called
Temple of the Deus Rediculus (the 'God of Return'), a Roman tomb on the
ancient road which formerly issued from the now closed Porta Latraa
(comp. p. 391). The building has been assumed by some, but without
authority, to be a temple erected by the Romans after the retreat of
Hannibal. The front, facing the N., was approached by a flight of steps;
the entrance to the tomb is in the left side-wall. One side is ornamented
with hexagonal pilasters in niches, the whole being an excellent example
of skilful brick architecture. The interior (25 c.) contains two stories with

394 Environs of Rome. VIA APPIA. 1. Immediate

groined vaulting. The architects of the Renaissance eagerly studied and
took measurements of this edifice.

The excursion may be continued up the valley of the Almo or Caffarelta,
which is closed by the conspicuous hill with the grove of Egeria (see below),
to the Orotto of Egeria and to Sanf Urbano (see below). The road is some-
times blocked by gates, and the visitor must either climb over these or
make a detour.

The Via Appia now ascends, with a pictiw sque retrospect of
Aurelian's wall and the Porta San Sebastiano, and runs for the next
J/2 M. between monotonous walls. To the left, in the Vigna Vag-
nolini, are considerable remains of the largest ancient Columbarium
yet discovered (p. 293). Visitors are not always admitted. Charming
view hence of the valley of the Caffarella and the Via Latina.

To the right, No. 33, ll/4 M. from the gate, is the entrance to
the Catacombs of St. Calixtus (p. 404), furnished with an inscrip-
tion , and shaded, with cypresses.

Farther on the road again divides. The branch straight on is the
continuation of the Via Appia Antica (see below) ; that to the left, the
'Via Appia Pignatelli', is the road which unites near the station of
Capannelle (p. 411 ; 2*/2 M. from the bifurcation) with the Via
Appia Nuova (p. 391).

From the Via Appia Pignatelli a field -path leads to the left in
9 min. to the little church of Sanf Urbano, a Roman tomb, Jong regarded
as a temple of Bacchus, and recognised from a distance by its red brick
walls. It seems to have been converted into a church in the 11th cent-
ury. The edifice was provided with a portico borne by four Corinthian
columns, which was probably walled up during a restoration in 1634, on
which occasion the buttresses were also added. — The Inteeiok is adorned
with paintings between the Corinthian pilasters, restored under Urban VIII.,
but interesting on account of their origin. They were executed, according
to an inscription on the Crucifixion over the door, by a certain Bortitzo
in the year 1011. On the posterior wall is Christ on a throne imparting
blessings; also scenes from the lives of Christ, St. Urban, and St. Cecilia.

A footpath leads on to a small, but formerly more extensive wood on
the hill, commanding an admirable view of the Campagna and the Alban
Mts. This is known as the Bosco Sacro, because Numa is said to
have here held his interviews with the nymph Egeria. — The cart-road
in the valley (there is also a direct footpath from Sanf Urbano) leads
hence to the left in a few min. to the so-called Grotto of Egeria, which
was sought for here owing to a misinterpretation of a passage of Juvenal,
and a confusion between the Aurelian and the Servian walls. The 'grotto'
is a nymphteum, originally covered with marble, the shrine of the brook
Almo, which now flows past it in an artificial channel, and was erected
at a somewhat late period. A niche in the posterior wall contains the
mutilated statue of the river-god, standing on corbels from which water
used to flow. The niches in the lateral walls were also once filled with
statues.

Following the branch of the road to the right, the Via Appia
Antica, we descend past the entrance (left, No. 37, Vigna Randan-
ini) of the Jewish Catacombs (p. 406), and reach the church of —

San Sebastiano, situated IV2 M. from the gate. This church has
from a very early period been one of the seven churches frequented
by pilgrims (p. xxxv), being erected over the catacombs where the
remains of so many martyrs reposed. Mention of it is first made in

Environs (S.E.). VTA APPIA. Environs of Rome. 395

the time of Gregory the Great. The form was originally that of a
basilica, but in 1612 it was altered to its present shape by Flaminio
Ponzio and Giovanni Vasanzio. The portico is supported by six
ancient columns of granite.

The 1st Chapel on the right contains the original 'footprint of Christ'
on stone (p. 393). The last chapel on the right was designed by Carlo
Maratla. Over the High Altar is a painting by Innocenzo Tacconi, a pnpil
of Annibale Carracci. The first chapel on the left contains a good statue of
St. Sebastian, designed by Bernini and executed by Oiorgini. A staircase
on the left, by the egress, descends to the Catacombs (p. 406).

Immediately before we come to the church , the Via delle Sette
Chiese diverges to the right, intersecting the Via Ardeatina after
10 min., and in 4 min. more reaching the Basilica of St. Petronilla
(p. 405). Thence to San Paolo Fuori, li/2 M., see p. 397.

Continuing to follow the Via Appia we come to a large gateway
on the left, beside which is the * Circus of Maxentius, on the left
side of the road. The name of the founder was discovered from an
inscription (excavated in 1825 and now built into the wall beneath
the entrance-arch at the E. end of the circus), which is dedicated
to Divus Romulus (d. 309), the young son of Maxentius. The circus
(350 yds. long, 86 yds. broad) was designed for chariot-races.

Facing the Via Appia was an extensive portico, with the circular
sepulchral temple of Romulus in the middle, and behind it one of the
principal Entrances, with another opposite to it in the semicircle which
terminated the building (on the Via Appia Pignatelli, p. 394). On each side
of the first-mentioned main entrance were the carceres, or barriers. The
chariots starting hence had to perform seven times the circuit of the course,
which was formed by the seats of the spectators and the spina, a wall er-
ected longitudinally in the centre of the arena, and embellished with statues
and obelisks, one of which last now stands in the Piazza Navona (p. 221). At
the ends of this wall stood the metae, or goals. The spina was placed
somewhat obliquely, for the purpose of equalising the distance as much as
possible to those starting in different positions, and for the same reason
the carceres are in an oblique line. The spectators sat on ten surrounding
tiers of steps, on which about 18,000 persons could be accommodated.

The road again ascends past the modest Osteria Arclieologica
and leads us to the *Tomb of Ceecilia Metella , IV4 M. from
the Porta San Sebastiano. This is a circular structure, 65 ft. in dia-
meter, on a square basis, covered with travertine. The frieze which
runs round the building is adorned with wreaths of flowers and
skulls of oxen, from which last the tomb is sometimes called Capo
di Bove. On a marble tablet facing the road is inscribed : Caeciliae
Q. Cretici f(iliae) Metellae Crassi, i.e. to the daughter of Metellus
Creticus , wife of the younger Crassus , son of the triumvir and
Csesar's legate in Gaul (whence the Gallic trophies above the in-
scription). The interior contained the tombchamber. The edifice
dates from the reign of Augustus. In the 13th cent, the Caetani
converted it into the tower of a stronghold and furnished it with
battlements. To this extensive castle, which subsequently passed
through various hands and was destroyed under Sixtus V., belong
the picturesque ruins of a palace and a church opposite. — About

396 Environs of Rome. VIA APPIA. 1. Immediate

4 min. farther on the Strada Militate mentioned at p. 392 diverges
to the left; it is frequently closed to carriages.

As far as this neighbourhood extends the lava-stream from the
Alban Mts. (see p. 382), which yielded paving material for the
ancient road. The more interesting part of the Via now begins ; the
ancient pavement is visible in many places, the tombs skirting the
road on both sides become more numerous (though many have left
but scanty remains), and the view becomes more extensive at every
step. On the left are perceived the adjacent arches of the Aqua
Marcia and the Aqua Claudia, (he latter now partly converted into
the modern Acqua Felice (comp. p. 391). About 2^4 M. from the
city-gate we reach the entrance (a notice on a house to the right)
to the part of the Via Appia excavated since 1851, flanked beyond
this point by a constant succession of tombs. Many of these contain
reliefs and inscriptions worthy of careful inspection.

On the right is the Fortezza Appia Antica, an outwork of the
new fortifications of Rome. — Ii. the Vigna Lugari, to the right of
the road, less than 1/4 M. farther on, is the large so-called Tomb of
St. Urbanus. Behind it the inteiesting remains of a Roman Villa
have been excavated, including the store-room with its huge terra-
cotta vessels, the bath-room, etc. (fee 2f>c).

About ll/i M. farther on, on the left, is the Casale di Santa Maria
Nuova. Beyond it lie the extensive ruins named Roma Vecchia,
which appear to have belonged to a spacious villa of the Quintilii.
Several of the chambers were employed as baths. On the right
are two conical tombs, overgrown with grass and trees, command-
ing an extensive view of the Campagna. Close by is an Vstrinum,
or place used for cremations, surrounded by a wall of peperino.

A large tomb on the left , the site of which is now occupied by
a small farm, 3/4 M. from Santa Maria Nuova, is named the Casale
Rotondo. It may be ascended for the sake of the fine view (25 c. ;
often closed). The lofty building on the left , 7 min. from the Casale
Rotondo, is also an ancient tomb , on which the Arabs and Normans
erected a tower, named Tor di Selce (tower of basalt).

The Via Appia from the Tor di Selce to Albano (7'/2 M.) is less
interesting. Among the tombs may be mentioned, on the left, 2 M. beyond
Tor di Selce, the circular Torraccio di Palomburo. The road is crossed
by the Terracina and Nettuno railway, a little beyond which is the Osteria
delle Frattocchie (railway-station, p. 442), where the old road and the Via
Appia Nuova unite. On the left side of the road Clodius once possessed a
villa; to the right in the valley lay Bovillae, a colony of Alba Longa, with a
sanctuary of the Gens Julia, where the remains of a theatre and circus may
still be traced. Remains of walls and tombs are seen on both sides of the
road. A large square structure, about 33 ft. in height, with three niches, was
long erroneously regarded as the tomb of Clodius. The road ascends. Near
the gate of Albano, on the left, is the so-called Tomb of Pompey (p. 413).

Picturesquely situated in the Campagni, between the Via Appia and
the Via Laurentina (p. 399), is the former chateau of Cecchignola, with
an old tower and a garden, built by Paul V. and Leo XII. It may be
reached by the Via Ardeatina (p. 393) in about l'/a br. from the Porta
San Sebastiano.

Environs (S.E.). SAN PAOLO FUORI. Environs of Rome. 397
g. From the Porta San Paolo.

The basilica of San Paolo Fuori may be reached by electric tramway
from the Piazza Venezia (p. 201) via the Piazza Bocca della Verita (p. 283) ;
comp. No. 4 in the Appendix. — Walkers from the Piazza Bocca della
Verita to the Porta San Paolo take 20 min.; thence to the church of San
Paolo Fuori, >/* hr. ; to the Tre Fontam, 1/2 br. more. — A digression to the
thren0ohnrches on the Aventine (PP. 28B. 237), or to the Monte Testaccio
(P' ™n ' <he Protestant Cemetery (p. 289), and the Pyramid of Cestius
(p. 289), may be conveniently made from the route to the Porta San Paolo.
— The tramway should be used outside the gate at least.

Porta San Paolo (PI. Ill, 18), soe p. 290. — A few hundred paces
from the gate the road is crossed by the railway to Civita Vecchia
and Leghorn. About 3 min. farther on a small chapel on the left
indicates the spot where, according to the legend, St. Peter and
St. Paul took leave of each other on their last journey. — Immed-
iately before we reach the church, the pleasant Via delle Sette
Chiese diverges to the left at an acute angle and leads to S. Sebasti-
ano on the Via Appia, 2 M. distant; comp. p. 395.

*San Paolo fuori le Mura, founded in 388 by Valentinian II.
and Theodosius on the site of a small church of Constantine, was
completed by Honorius and was restored and embellished by many
of the popes, especially Leo III. Prior to the great Are of the night
of 15th July, 1823, which destroyed almost the entire building ex-
cept the choir, this was the finest and most interesting church at
Rome. It was a basilica with double aisles and open roof; and
the architrave, supported by eighty columns of pavonazzetto and
Parian marble, was adorned with busts: of the popes. It contained
numerous ancient mosaics and frescoes, and in the Confessio the
sarcophagus of St. Paul, who, according to tradition, was interred
by a pious woman named Lucina on her property here. The front
towards the Tiber was approached by a colonnade, and early in the
middle ages an arcaded passage connected it with the city.

Immediately after the Are Leo XII. began the work of restora-
tion, which was presided over by Belli, and afterwards by Poletti.
The transept was consecrated by Gregory XVI. in 1840, and the
whole church by Pius IX. in 1854, on the occasion of the meeting
of the Council. The explosion of a powder-magazine outside the
Porta Portese in 1891 again considerably injured the church. The
plan and the dimensions are the same, but for slight divergences, as
those of the original building , though the gorgeous decoration is
somewhat inconsistent with the character of an early -Christian
basilica. — The chief Facade, with a porticus (now being con-
structed) borne by splendid monolithic columns of Simplon granite,
is turned towards the Tiber. The mosaics on the upper part of it,
representing Christ with SS. Peter and Paul, in the symbolical style
of the early Christians, with the four great prophets below them,
were executed by F. Agricola and Consoni, in the papal mosaic
manufactory (1885).

The *Intemob. (130 yds. in length, 65 yds. in width, 75 ft. in

398 Environs of Rome. SAN PAOLO FUORI. 1. Immediate

height), with double aisles and a transept, is entered by the portico
on the N. side (or from the road at the E. end, by a side-door
adjoining the campanile, and through the vestibules mentioned
below). The ceiling of the nave, which is richly coffered instead of
being open, as formerly, is borne by 80 columns of granite'from
the Simplon.

The imposing effect of the vast dimensions and the costly materials
of the church is best perceived from the W. end of the nave, a little
on one side. The two yellowish columns of oriental alabaster at the en-
trance, as well as the four of the canopy of the high-altar, were presented
by Mehemet Ali, Viceroy of Egypt, and the malachite pedestals by the Emp.
Nicholas I. of Russia. Above the columns of the nave and inner aisles,
and in the transept, is a long series of Portrait Medallions of all the popes
in mosaic (each 5 ft. in diameter). Between the windows in the upper part
of the Nave are representations from the life of St. Paul by Gagliardi, Podesli,
Consoni, JBalbi, etc. The windows of the external aisles were shattered by
the explosion in 1891. On the sides of the approach to the transept are
the colossal statues of SS. Peter and Paul ; the "Confessio, or shrine, is richly
decorated with red and green marble from Peloponnesian quarries, which
were known in antiquity.

The Chancel Akch is adorned with (freely restored) Mosaics (440-461),
executed by order of Galla Placidia, sister of Honorius and Arcadius : Christ
with the 24 Elders of the Revelation. On the side next the transept : Christ
in the centre, left St. Paul, right St. Peter. — Under the arch is the High
Altar, with a "Canopy by Arnolfo di Cambio (?), the architect of the cathe-
dral of Florence, and his assistant Paulus (1285). The Easter Candelabrum,
in the right transept, with scenes from the life of Christ and ornament-
ation of animal forms and foliage, in raised work, is by Niccolb de Angiolo
and Petrus Vassallettus (p. 399 ; ca. 11;0). In the Tribune are "Mosaics of
the beginning of the 13th cent. : in the centre Christ, with Pope Honorins III.
at his feet ; on the right SS. Peter and Andrew, on the left SS. Paul and
Luke. Under these are the Apostles and two angels. Below them is the
modern episcopal throne. — Left Transept. Altar with the Conversion of
St. Paul by Camuccini and the statues of St. Romuald by Stocchi, and St. Gre-
gory by Laboureur. (1st) Chapel op St. Stephen, with a statue of the saint
by Rin. Rinaldi, and two pictures (Stoning of St. Stephen, by Podesti, and
the Council of high-priests, by Coghetti). (2nd) Cappella del Crocifisso :
in front of the mosaic below the crucifix in this chapel Ignatius Loyola and
his adherents pronounced the vows of their new order, 22nd April, 1541. —
Right Transept. Altar with a copy in mosaic of the Coronation of the
Virgin by Giulio Romano and Franc. Penni (p. 345), and statues of SS. Bened-
ict and Scholastica by Qnaccherini and Baini. (1st) Cap. del Coro, designed
by Carlo Maderna, adjoining the Tribune, was spared by the fire. (2nd) Cap.
i>i San Benedetto, with a statue of St. Benedict by Tenerani.

In a straight direction from the right transept is the entrance to the
cloisters (p. 399); to the left we pass through several chapels con-
taining some ancient but freely restored frescoes, and reach a Vestibule
with a colossal statue of Gregory XVI. and a few ancient frescoes and
mosaics (half-figures of SS. Peter and Paul, dating from about the 5th
cent., etc.). In this room i3 the side-entrance to the church beside the
campanile mentioned above, and to the right is the entrance to the Sacristy,
which contains several good oil-paintings. Over the door the Scourging of
Christ (by Signorelli ?), on the right a Madonna enthroned with SS. Benedict,
Paul, Peter, and Justina. Also four single figures of the same saints. — In a
room beyond the sacristy (generally closed) is a sitting marble figure of
Pope Boniface IX., an interesting work of the beginning of the 15th cen-
tury. A closed cabinet here contains the bronze door of the ancient basi-
lica, executed at Constantinople in 1070 by Staurakios by order of the consul
Pantaleon ; in spite of injuries inflicted by fire and thieves, it still retains
much of its former magnificence. It is adorned with scenes from sacred
history inlaid in silver.

Environs (S.). TRE FONTANE. Environs of Rome. 399

The monastery attached to the church , which belonged to the
Benedictines fiom 1442, has been secularised. The beautiful
"Cloisters (Chiostro) of the 13th cent. (p. lxii) are not inferior
even to those of the Lateran. According to the mosaic inscription
round the wall they were commenced by the abbot Petrus de Capua
(ca. 1220), and completed under John V. (ca. 1241); the decora-
tion is perhaps by Petrus Vassallettus, a master in this kind of work
(comp. p. 305). On the walls are numerous heathen and early-
Christian inscriptions from the Catacombs, and a few fragments of
ancient and mediaval sculptures, among them a large sarcophagus
with the history of Apollo and Marsyas. The cloisters have been
declared a 'monumento nazionale' (no fee).

The main road leads on in a straight direction and (7 min. beyond
the church) divides at the Osteria del Ponticello : on the right the
ancient Via Ostiensis diverges to Ostia (p. 436), and on the left the
Via Laurentina leads, past the prettily-situated i Osteria Montagnola,
to the (25 min.) —

Abbadia delle Tre Fontane (ad aquas Salvias), which for a time
was almost [deserted owing to malaria, and was made over in 1868
to French Trappists. Owing to extensive plantations of the rapidly-
growing eucalyptus the sanitary condition of the place has improved.
The name is derived from the legend that the apostle Paul was
executed here, and that his head was observed to make three distinct
leaps , corresponding to which there welled forth three different
fountains. The court surrounding the three churches is approached by
an archway bearing traces of painting, which is supposed to have be-
longed to an earlier church of John the Baptist (visitors ring; 25 c).

Santi Vincenzo ed Anastasio, the largest of the churches , a basilica
in the ancient style, founded by Honorius I., and restored in 1221 by Ho-
noring III., as the inscription to the left of the choir records, has lately
again undergone restoration. It has retained many mediaeval peculiari-
ties, and in particular the marble windows over the nave. The portico
bears traces of paintings, including the portrait of Honorius III.

To the right is the second church, the circular Santa Maria Scala Coeli,
so called from the 'vision' here vouchsafed to St. Bernard, to whom In-
nocent II. had presented the monastery, of a heavenly ladder, on which
angels were conducting to heaven the persons whom his prayers had released
from purgatory. In its present form the church dates from the close of
the 16th century. The tribune contains good mosaics by Franc. Zucca :
SS. Zeno(?), Bernard, Vincent the deacon, and Anastasius(?), revered by
Clement VIII. and Card. Aldobrandini, the finisher of the church.

The third church, San Paolo alle Tre Fontane, stands on the spot
where the apostle is said to have been beheaded, and contains the three
springs already mentioned. In the centre is an antique mosaic represent-
ing the four seasons, found at Ostia in 1869. By the spring to the right
stands the column of white marble to which St. Paul is said to have been
bound at the time of his execution. The present edifice dates from 1599.

Before leaving, the visitor is conducted to the distilling-room, where
a glass of eucalyptus liqueur is offered to him (20 c).

The hills above the abbey, which are honeycombed with puzzo-
lana pits, command delightful views. Puzzolana-earth, mixed with
lime, produces the excellent Roman cement.

400 Environs of Rome. THE CATACOMBS. 1. Immediate

The Catacombs.

Ancient and Christian Rome seem to be separated by a wide chasm,
if the modern appearance of the city alone be regarded. The most ancient
churches having disappeared, or being concealed beneath a modern garb,
the earliest Christian monuments of any importance are several centuries
later than the last Roman structures. This interval is satisfactorily filled
up by the Catacombs, or burial-places of the early Christians. — Most
travellers will be satisfied with a visit to the Catacombs of St. Calixtus, and
perhaps those of <S(. Domitilla or St. Agnes (all shown daily, except in mid-
summer; comp. pp. 404, and 405,406). The custodians furnish lights^ but for
anything like a close inspection visitors are advised to provide themselves
with candles also. On 22nd Nov. the Catacombs of Calixtus are illuminated
and open to the public. Information as to admission to the other cata-
combs may be obtained of the custodians of the Calixtus Catacombs. The
temperature in the Catacombs is mild and the air dry, but a light wrap
is advisable for those entering them on a hot sunny day. The passages
are sometimes muddy.

Scientific visitors may apply for additional information to the Com-
missions di Sacra Archeologia.

I. History of the Catacombs. The term 'Catacombs' is
modern, having been extended from those under San Sebastiano, to
which the topographical name 'ad catacumbas' was anciently ap-
plied, to the others also. The early Christians gave their burial-
places the Greek name of Coemeteria, i. e. resting or sleeping-places,
with reference to the hope of the resurrection. The Roman law, fre-
quently re-enacted during the empire, prohibiting the interment of
the dead, or even their ashes, within the precincts of the city, was
of course binding on the Christians also. "We accordingly find their
burying-places situated outside the gates, on the great highroads.

While the European nations had become accustomed to dispose
of their dead by cremation, the Egyptians and the Jews retained
the practice of interment. The prevalence of the Jewish influence
among the Christians gave rise to the excavation of subterranean
passages, in the lateral walls of which recesses were made for the
reception of the corpses. Burial-places of this description are to be
found at Naples, Syracuse , Chiusi, Venosa, in Alexandria (in
Egypt), and elsewhere, as well as at Rome, where they are chiefly
excavated in the strata of soft tufa which is found in the immediate
vicinity of the town, and is of no value for building purposes.

The Roman Catacombs took their rise from Family Tombs, which
were named after their original proprietors, such as those of Lucina,
Priscilla, Pontianus, and others. The approaches to them were
everywhere wide and conspicuovi s. The oldest belong to the first cen-
tury of our era, the most recent to the first half of the 4th century.
In the 3rd century the Church began to establish burial-places of
its own and to take the management of those already existing ■ and
this supervision seems soon to have embraced all the Christian
burial-places. Each district was presided over by a presbyter.

During the 3rd cent, the persecuted Christians frequently sought
pafety in the Catacombs ; and not a few suffered martyrdom in

Environs. THE CATACOMBS. Environs of Rome. 401

their subterranean places of refuge. Peace was at length restored to
the Church and security to the Catacombs by Constantine the Great's
edict of Milan. Throughout the 4th cent, interments here were
customary, but they became rarer towards the end of that cent.,
and were entirely discontinued in the 5th, as it then became usual
to inter the dead near the churches. The last three Catacombs ap-
pear to have been constructed by Pope Julius I. in 336-47.

The Catacombs, however, as well as the tombs of the martyrs,
still enjoyed the veneration of pilgrims and the devout. Pope l)a-
masus I. (366-384) caused numerous restorations to be made, and
many of the tombs to be furnished with beautiful metrical inscrip-
tions ; apertures for light and staircases were constructed to facili-
tate the access of visitors; and the walls at a comparatively late
period were decorated with paintings, which differ materially from
those of the earliest Christians in subject and treatment. During
the frequent devastations undergone by the city, however, the Cata-
combs were also pillaged and injured, the first time on the occasion
of the siege by the Goths in 537, and afterwards during the siege
by the Longobards in 755, when they suffered still more seriously.
'The invaders ransacked the burial-places of the martyrs with pious
zeal, searching for the bones of saints, which they deemed more
precious than gold, and giving them arbitrary names, carried them
home in hope of selling them at a great price. These men dug
with the ardour of gold-seekers; that a skeleton was found in
Roman soil was sufficient warrant to them for attributing mira-
culous virtue to it, and thus it probably happened that the bones
of those who had in their time descended to the Catacombs as
sinners, were suddenly brought to light again as the remains of the
saints of heaven.' After these different plunderings the Catacombs
were restored by John III. (560-73) and Paul I. (757-68) ; but the
transference of the remains of the martyrs to the altars of the city
had already taken place in the most wholesale manner. In 609,
when Boniface IV. consecrated the Pantheon as a church, he caused
twenty-eight waggon-loads of the bones of 'saints' to be deposited
beneath the altar ; and an extant inscription records that no fewer
than 2300 corpses of 'martyrs' were buried in Santa Prassede on 20th
July, 817. Hadrian I. (772-95) and Leo III (795-816) also made
attempts to preserve the Catacombs from ruin, but the task was
abandoned by Paschalis I. (817-24), after whose time the Cata-
combs gradually fell into oblivion, those under San Sebastiano alone
remaining accessible to the visits of pilgrims.

At length we find traces of renewed visits to a few of the Cata-
combs in the 15th cent, partly by pilgrims, and partly by members
of the Roman academy of the humanists, but the scientific explora-
tion did not begin until fully a century later. On May 31st, 1578
some workmen accidentally discovered an ancient Ccemeterium near
the Via Salaria, and from that period the subject began to excite

r-ii-rirrr" flaii*""' V-'" ntK.Tj^j*;™. 26

402 Environs of Rome. THE CATACOMBS. 1. Immediate

general and permanent interest; and the Roman church has since
then regarded the supervision of Roma Sotterranea as a point of
honour. The pioneer of the scientific examination of the Cata-
combs was Antonio Bosio of Malta, who devoted thirty-six years of
his life to the task; his 'Roma Sotterranea' was not published
till 1632, three years after his death. His researches, although
afterwards followed up by other scholars, were at length threatened
with oblivion, but in the 19th cent, he has been worthily succeeded
by the Jesuit Marchi and, above all, by Giovanni Battista de Rossi
(d. 1894), the archaeologist. The last published the result of his
indefatigable labours in a Collection of Ancient Christian Inscriptions
^lst vol. 1861, 2nd vol. 1889), in a work entitled 'Roma Sotterranea'
[3 vols., 186-1-77), and in the 'Bullettino di Archeologia Cristiana
1863 et seq.). English readers may consult Roma Sotterranea by
Northcote and Brownlow (London, 1878-80). The most recent works
on the subject are Le Catacombe Romane, by Orazio Marucchi(Rome,
1903; 10 lr), and Le Pitlure delle Catacombe Romane, by G. Wilpert
[Rome, 1903; 3 vols., 375 fr.). Comp. also p. xxvii.

II. The Arrangement of the Catacombs was originally ex-
tremely simple. Narrow passages, 2!/2 ft. in width, afterwards even
less (l3/4 ft.), were excavated and furnished with loculi, or recesses
in the sides, of the length of the body to be interred. These niches
were placed one above the other, as many as three and more being
sometimes thus disposed , and when the body was interred they
were closed with tablets of marble , or terracotta , which wen
either left plain, or (at first) merely recorded the name of the
tleceased, with the addition lin pace\ The older inscriptions are
usually in Greek, but the later always in Latin. This change il-
lustrates the progress of Christianity from the position of an alien
creed to that of the accepted religion of a native and national
community. Various ornaments and memorials and sometimes do-
mestic utensils were interred along with the deceased. Adjacent to
the slabs which closed the niches were frequently placed earthen
lamps, for the purpose of lighting the dark passages. The niches
are generally empty in consequence of the mania for relic-hunting,
already mentioned. The practice of leaving all the monuments in
the places in which they are found is of very recent introduction.
The increase of the community and the transformation of burial-
places originally intended for families and their co- believers
into public cemeteries could not fail to affect the external arrange-
ments of the Catacombs. By degrees they were extended ; the pas-
sages became narrower and higher, or rose in several stages, some-
times as many as five , one above another. Catacombs originally
distinct were connected by means of new excavations, and the com-
plicated nature of these alterations and extensions is still apparent
to the observer. These operations were carried out by a regular
society of Fossores (or^dUeMs). -«hit£ei^edJ;o exist only when the

Environs. THE CATACOMBS. Environs of Rome. 403

ise of the Catacombs was discontinued. The system of monotonous
passages -was sometimes broken by the introduction of larger eham-
jers, which were used as cubicula ('bed-rooms'), or family burial-
)laces, and were private property. Lastly we also find chambers
;hat were set apart for the celebration of divine worship ; but these
til date from the 4th cent. , when the celebration of ecclesiastical
'estivals in honour of the martyrs came into vogue. The ordinary
services were performed in the private dwelling-houses in the city,
ind not in the Catacombs, as has been erroneously supposed. The
'ommunity assembled at the tombs only on the occasion of the
jeneral festivals of the dead.

III. The Decoration of thb Catacombs is one of their most
nteresting features. Christian art in origin could, of course, be
but an application of ancient forms to the new objects and con-
;eptions introduced by the new religion. The paintings and sculp-
;ures of the Catacombs are therefore in no respect different in style
from contemporaneous works, and with them shared in the at first
gradual but afterwards precipitate and almost total degradation of
art. The best frescoes belong to the end of the 1st and beginning
of the 2nd century. With the general decline of the Roman em-
pire in the 3rd and 4th centuries, artistic forms became distorted
and unpleasing. Even in the case of decorative works there is no
essential difference between Christian and heathen art, at least
during the earlier periods.

On the other hand, a peculiar significance in the choice and
treatment of the subjects is observable from the earliest period.
Comparatively few historical paintings are met with, i.e. paintings
intended simply to illustrate some event from Jewish or Christian
history. Once the Madonna and Child by themselves are observed
(Catacombs of Priscilla) ; generally they aTe accompanied by the
Magi, varying in number, who present their offerings, as in the
Catacombs of SS. Calixtus, Domitilla, and Priscilla. Scenes of
martyrdom do not occur earlier than the 5th century.

The great majority, however, of the paintings represent scenes
symbolical of the doctrines and hopes of Christianity. That of most
frequent recurrence is the Resurrection, typified either by the rais-
ing of Lazarus, who appears at a door wrapped in his grave-clothes,
while Christ, represented beardless, stands before it with a wand,
or by the history of Jonah sitting under the gourd , the prophet
swallowed by the whale, and his final escape. The Good Shepherd
also frequently appears , with the lost sheep on his shoulders , and
sometimes surrounded by lambs. Abraham's Sacrifice, Noah in the
Ark, and the Hebrew Children in the fiery furnace belong to the
same category. Daniel in the lions' den is another favourite subject,
and he is generally represented with his hands raised in prayer,
an attitude in which the deceased themselves are often depicted
('orantes'). The Miracles of Christ also recur frequently. In the

26*

404 Environs of Rome. THE CATACOMBS. 1. Immediate

'sacrament-chapels' of the Calixtus Catacombs we also meet with
representations of Baptism, in realistic style, and the .Lost Supper,
treated symbolically. The fish, too, by a kind of acrostic, formed
an important Christian symbol , as the Greek </$"J? (fish) consists
of the initial letters of: I-qaovs X^iaxog @eov Ylog Swxr;^ (Jesus
Christ the Saviour, Son of God). All these subjects and many
others, especially the traditions of the Old Testament which contain
a typical reference to New Testament history (such as Moses smit-
ing the rock), recur continually in the paintings of the Catacombs
and in the sculptures on the ancient Christian sarcophagi. The
inscriptions corresponding to these were , as already mentioned
(p. 402), of a very simple description down to the middle of the
3rd cent., after which they become more lengthy, and contain
more elaborate ejaculations ot grief and hope. — For purposes of
study , the collections in the Christian Museum at the Lateran
(p. 308) will be found convenient. Important inscriptions are also
preserved in the Galleria Lapidaria in the Vatican (p. 359).

The Catacombs extend around the city in a wide circle, the major-
ity, however, being concentrated between the Via Salaria and the
Via Nomentana on the one side, and the Via Latina, the Via Appia,
and the Via Ostiensis on the other. Upwards of forty different
Catacombs, varying greatly in extent, and only partially accessible,
have been discovered. According to Michele de Rossi's careful
calculations, they cover an area of 615 acres. In order, however, to
form an accurate idea of their extent, it must be borne in mind that
the passages run one above another, as many as five being some-
times thus disposed. The highest of these lie 22-25 ft. below the
surface of the earth, while the lowest are 40-50 ft. deeper. If the
whole of these subterranean passages were placed in a continuous
line, their total length would be about 545 English miles. The most
important of the Catacombs only need be enumerated here, and of
these the most instructive are the —

* Catacombs of St. Calixtus on the Via Appia, l^M. beyond
the Porta San Sebastiano (p. 394). On entering the vigna in which
they are situated, we perceive a small brick building with three
apses beside the custodians' hut (where the entrance-fee of 1 fr. is
paid and a monk obtained as guide). This was identified about
1850 by Giov. Batt. de Rossi as the ancient Oratorium Sancti
Callisti in Arenariis. It now contains inscriptions and Teliefs from
the Catacombs, and a bust of De Rossi. — The present entrance to
the Catacombs immediately adjoins this building. A passage with
tombs is traversed, and the * Camera Papale, or Cubiculum Pontifi-
cium, a chamber of considerable dimensions, is soon reached on the
left, containing the tombs of several popes or 'bishops' (Anteros,
Lucius, Fabianus, and Eutychianus) ; originally also that of Six-
tus II., who died as a martyr in the Catacombs in 258. In front
of the rear wall is a ltm» mntrin-il i"fiiaiptj"n in honour of the last,

Environs. THE CATACOMBS. Environs of Rome. 405

composed by Pope Damasus I. about the close of the 4th cent. , and
engraved in elegant and decorated characters invented specially for
the purpose by Furius Dionysius Philocalus, the secretary of that
pope. Outside the entrance, on both sides, a great number of in-
scriptions have been scratched by devout visitors of the 4-6th cent-
uries. We next enter a chamber,open above, which once contained
the Tomb of St. Cecilia, whose remains are now in the church of
Santa Cecilia in Trastevere (p. 376). On the wall here are several
Byzantine paintings of the 7-8th cent. : St. Cecilia, St. Urban, and
a head of Christ. The walls of the aperture for light bear traces of
other frescoes. On St. Cecilia's Day (22nd Nov.) mass is celebrated
here (comp. p. 400). In the sides of the passages near these chapels
are several tomb-chambers known as 'sacrament chapels', which are
adorned with symbolical representations of the communion, baptism,
and similar scenes ('comp. p. 403). Then follow the Tomb Chamber
of Pope Eusebius (309-11), with a 6th cent, copy of an inscription by
Damasus, and another with two sarcophagi still containing the remains
of the deceased, one of them preserved in a mummy-like form, the
other almost entirely destroyed. The Tomb of Pope Cornelius (251-52)
originally belonged to the separate cemetery of Lueina.

Adjoining the catacombs of St. Calixtus and entered from the Chiostro
dei Trappisti, Via Appia 28 (not always accessible), are the remains of the
Sepulchral Chapel of SS. Mark and Marcellmus, with much-damaged mural
paintings, and the Crypt of Pope Damasus I. (,"6i-c84), with the funeral-in-
scription of his mother, discovered in 1803. Tbe excavations are being
continued.

The '"Catacombs of Domitilla, or of SS. Nereus and Achilleus

(open daily, from 9 a.m. till dusk; adm. 1 fr.), near the Catacombs
of Calixtus, on the Via delle Sette Chiese 22 a (p. 395), contain the
greatest number of inscriptions (upwards of 900), and are among the
earliest foundations of the kind, vying in antiquity with the Crypts
of St. Lueina and the Catacombs of St. Priscilla. Domitilla was a
member of the imperial house of the Flavii. In two of the five an-
cient entrances are frescoes of the end of the 1st cent., representing
genii in the Pompeian style, the earliest figures of the Good Shepherd,
Daniel, etc. In the centre of the catacomb is the large and nearly
quadrangular Basilica of St. Petronilla, who, according to the legend,
was the daughter of St. Peter. The basilica, excavated in 1875, is
built in the second story of the catacomb and projects with its roof
into the open air. It contains nave and aisles with a forecourt, and
its ground-plan is approximately a square. On the column of a
canopy is represented the martyrdom of St. Achilleus in relief, per-
haps the earliest work of the kind (5th cent.). Everything else is
in a ruined condition, but the church has recently been partly re-
stored. It was used from the 5th to the 8th cent. only.

The Catacombs of St. Prsetextatus, not far from the Via Appia,
towards Sant' Urbano (p. 394), contain decorations similar to those of
the station of theVigiles at Trastevere (p. 374). Intheburial-chapel

406 Environs of Rome. THE CATACOMBS.

of Vibia here are still to be seen gnostic heretical representations
(Hermes as conductor of the dead, etc.).

The Catacombs of St. Priscilla lie on the Via Salaria, l3/4 M.
from the gate (p. 388). The oldest part consists of a square cham-
ber, called the 'Cappella Greca', owing to its Greek inscriptions,
which contains interesting paintings of the 3rd century. Among the
decorations of the ceiling in another room are a Madonna and
Child, with Isaiah pointing to the new light in Israel (a star). This
is the oldest Madonna in existence, dating from the latter half of
the 2nd century. Coloured inscriptions on bricks, of th eearliest and
simplest type, are also occasionally found here.

The Catacombs of St. Agues, under the church of Sant' Agnese
fuori le Mura (p. 389), are destitute of painting, but are to a great
extent in their original condition. They are shown by the sacristan.
— About i/i M. beyond the church is another catacomb, called the
Coemeterium Ostrianum, remarkable foi its family burial-places.

The Catacombs of San Sebastiano, below the church of that name
on the Via Appia (see p. 395), the only burial-places of the kind
which continued to be visited in mediaeval times , have been almost
entirely deprived of their enrichments. — The so-called Platonia
di San Damaso, retaining remains of stucco ornamentation, is the
tomb of the martyred Quirinus, Bishop of Siscia, not, as has been
erroneously supposed, a tomb built by Damasus for the bodies of
the apostles Peter and Paul. — In the vicinity are the —

Jewish Catacombs, in the Vigna Randanini (p. 394 ; adm. daily,
9-5, 1 fr.), which were excavated about the 3rd century. They rather
resemble the catacombs of Naples than the other Roman catacombs.
The inscriptions are exclusively Greek and Latin. The most fre-
quently recurring symbol is the seven-bTanched candelabrum. Two
chambers are enriched with decorative paintings, in which, contrary
to the Mosaic law, figures of animals are depicted. A sarcophagus
here still retains traces of gilding.

The Catacombs of SS. Peter and Marcellinus, near the Torre Pignattara
(p. 391), are among the most extensive. The ceiling of a lofty chapel bears
an Enthroned Christ, with St. Paul on the right, and St. Peter on the left,
with four saints below, quite in the style of the earliest mosaics. Other
frescoes, such as two scenes of family feasts, belong to the 3rd century.

The Catacombs of St. Pontianus, situated in the Vigna di San Michele,
V2 M. from the Porta Portese (p. 377 ; to the right before the Strada di
Monteverde) , are excavated in the breccia of Monte Verde. At the foot
of a staircase descending into it is a basin with water, serving as a
baptistery. On the wall beyond is the Baptism of Christ (with a stag
near the Jordan) , above a large cross in the later style. Above the
staircase are two large medallions with heads of Christ of the 6th and
9th (?) centuries.

The Oratorio of Sant' Alessandro, 6 M. from the Porta Pia (p. 380), in the
Tenuta del Coazzo, is a long, half-subterranean building, the very poor
masonry of which is well preserved in the lower part. According to an
inscription on the altar, this was the tomb of a certain Alexander, perhaps
the bishop of that name. The oratory is surrounded with lofty passages
still containing undisturbed tombs.

Catacomb of St. Generosa, see p. 435.

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4 Zagaxolo-Palestrina

407

2. The Alban Mountains.

The well-wooded Alban Mountains (Monti Albani or Laziali) consist of
an isolated group of basaltic forroaiion (lava and tufa), gradually rising
from a plain overlaid with voloanic ashes and forming an imposi' g pyra-
mid, which culmina'es in Monte Cavo (3ll5 ft.) and the Punta Faette (3U5 ft.).
In the middle of the outer cone lies a wide basin- shaped depression,
which is enclosed on the E. by a continuous wall of rock, while to the
W. it includes three smaller lasirs (Lago d' Albano, Lago di Nemi, Valle
Aricciana) partly filled with water, and the tiny Laghetto di Tuino (now dry).
It was formerly supposed that these represented a central and three lateral
craters ; but they were more probably formed by subsidences occurring dur-
ing a pause after the chief period of volcanic activity. When this activity
was resumed the Monte Cavo, which has its crater in the Campo di Annibale,
was formed above the ancient outlet. Long streams of lava were poured
out towards Rome, towards Velletri, and towards the N.; these may be
recognized in the hilly ridges, which are now intersected by the railways.
The tufa rock occur3 in several varieties, one of the most widespread of
which is that called peperino, whose variegated appearance is due to the
minerals it contains, and to the baked and fired fragments of limestone and
clay. The presence of these ingredients indicates very violent explosions,
which shattered the rocks below the volcanoes, and expelled masses of the
fragments. Within the historic period the volcano has been extinct, but the
earthquakes which occasionally occur at Albano, Nemi, and Rocca di
Papa recall the fact that the whole mountain mass is of recent origin.
Its height and its isolated situation make it a healthy district abounding in
springs, and surrounded by luxuriant cultivation. Alban wine was famous
even in antiquity. On the N. slope of the group lies Frascati, and on the
S.W. slope Albano., both of which have been surrounded since the most
ancient times with the country-houses of wealthy Romans. — The great
natural beauty of the scenery here has always made these mountains a
favourite resort of visitors from Rome. The inhabitants have preserved
many of their peculiarities, though the famous costume of the Alban women
is seldom seen except on Sundays and holidays.

Plan op Excursion for one day (reserving Frascati for a special after-
noon's visit from Rome). By railway to Castel Gandolfo (p. 412), walk
thence by the Galleria di Sopra to the highroad from Albano, and thence
as described at pp. 412, 416, to Eocca di Papa (p. 416), whence Monte Cavo
(p. 417) may be ascended (3-4 hrs. in all from Castel Gandolfo). Descend
with guide to (l'/4 hr.) Nemi (p. 415) and proceed (guide unnecessary) via
(3/j hr.) Qenzano (p. 414; where a carriage may be hired if desired) to
(3/i hr.) Ariccia (p. 414), and (l/4 hr.) Albano (p. 413). — This excursion may
be made in one day in the reverse order: from Castel Gandolfo to Albano,
V* hr., Qenzano 1 hr., Nemi 'A hr., Monte Cavo 2 hrs., Rocca di Papa »/s hr. ;
and thence to Frascati in 2i/jhrs., by a footpath passing Tusculum. — Orotta
Ferrata is interesting mainly on account of the frescoes by Domenichino
(p. 410); this part of the mountains offers least in the way of scenery.

Those who have plenty of time, and do not object to an occasional
deviation from the direct route, will have no difficulty in finding their
wav with the aid of the map and the following directions. When Guides
(3-4 fr. a day) or Donkeys (about 6 fr. a day, including driver's fee)
are made use of, a precise programme of the excursion should be agreed
upon beforehand, as the men are apt to cut the journey short to the tra-
veller's disadvantage. In spring and autumn Walking in this district will
be found pleasant; but in the warmer months the traveller will find it,
convenient to follow the native custom of using donkeys, or to hire a
carriage. Carriages may be hired at Frascati, Castel Gandolfo, and Al-
bano, where the charges are as high as at Rome (20-30 fr. per day).

From Rome to Frascati, 15 M., railway in 3/4 hr. (fares 2fr. 80,
1 fr. 95, and 1 fr. 30 c. ; return- tickets, comp. p. xiv). Tramway
under construction (see p. 391). — Journey to (83/4 M.) stat.

408 Environs of Some. FRASCATI. 2. Allan Mis.

Ciampino, see p. 428. The main lines go on to Naples and Terracina
(pp. 428, 442). The branch-line to Frascati gradually ascends. The
station lies a little below the town.

Frascati. — Hotels. "Gband Hotel Fkascati, with electric light and
baths, R. from 3, L. y2, A. 1/2, B- I'A. d(y- 3, D. 4, pens. 8-10 fr. — Albekgo
Pannelli, above the steps leading to the station, plainer. — Trattorie (the
landlords procure clean bedrooms for travellers). Villetta, with garden
and view, halfway up the steps from the station, to the left in the Viale
Giuseppe Pery ; Leone, Piazza Romana, at the top of the steps ; Cippo-
lelta, in the Via Re Umberto, the street to the left of the church, reached
through the double archway leading to the Piazza del Mercato. — Lodgings
easily obtained (single rooms 30-40 fr.. 3-4 rooms about 100 fr. per month).

Omnibus to Rocca di Papa (p. 416), thrice daily in summer, twice in
winter, in connection with the trains, fare U/4 fr. (recommended). — Donkey
to Rocca di Papa, l'/2 fr.

A visit to Tusculum takes 3-4 hrs., the best route being by Villa Aldo-
brandini and Ruffinella in going, and by Camaldoli and the Villa Mon-
dragone in returning. Guides and Donkeys, necessary only when time is
limited, 2-3 fr. Some of the Villas are not always open to the public.

Frascati (1056 ft.), in a healthy situation , on the slope of the
mountains, with its beautiful , shady, and well-watered villas, com-
manding an admirable view of the Campagna, is adapted for a stay of
some time. The town (8453 inhab.), which is noted for its wine, is of
modern origin. Two churches, Santa Maria and Sanctus Sebastianus
in Fratcata, were first mentioned in the 9th cent. ; these seem to have
stood on the ruins of a Roman villa (perhaps that of the Anicii), over-
grown with underwood (frasche), whence the name. The town remained
quite unimportant until after the destruction of Tusculum (p. 409).

A carriage-road and a path with flights of steps lead from the
station to a piazza, embellished with gardens , in which, to the
right, is the entrance to the Villa Torlonia (formerly Villa Conti ;
fee), with dilapidated fountains and beautiful points of view, the
property of the Duca Torlonia. Straight on are the lower entrances
(sometimes closed) to the Villa Lancellotti and Villa Aldobrandini
(see below); while about 2 min. to the left is the main piazza of the
town. — In the piazza, which is embellished with a pretty foun-
tain, rises the cathedral of San Pietro, erected in 1700 under Inno-
cent XII. To the left of the high-altar is a memorial tablet to Charles
Edward, the Young Pretender (d. 1788), grandson of James II., who
was first buried at Frascati, afterwards in St. Peter's (p. 326).

From the piazza we ascend the steep street (CorsoVolfango Goethe)
to the right, past the cathedral of San Pietro and the donkey-station.
Above the town, on the left, rises the Villa Lancellotti (formerly
Villa Piccolomini), in which the learned Cardinal Baronius (d. 1607)
wrote his church-history. The entrance is in the Via Lancellotti.

Farther on we reach, on the right, the handsome * Villa Aldo-
brandini, erected in 1603 by Oiacomo delta Porta for Card. Pietro
Aldobrandini, nephew of Clement VIII. The palace contains paintings
by theCavaliere d'Arpino. The grounds are adorned with cascades
and beautiful oaks, and the views are very extensive , especially
from the flat roof of the semicircular building.

2. Alban Mts. FRASCATI. Environs of Rome. 409

The road to Tusculum next passes the Capuchin Church (1 M.
above the town , containing a few pictures), and soon reaches the
entrance to the * Villa Tusculana or Ruffinella, of the 16th cent.,
formerly the property of Lucien Bonaparte, afterwards that of King
Victor Emmanuel II., and now belonging to Prince Lancellotti. In
Nov., 1818 , Lucien was attacked and robbed here, an event ad-
mirably described in Washington Irving's 'Adventure of the Artist'.
Inscriptions and antiquities found in the neighbourhood are shown.

From the Villa Ruffinella we ascend to the right, either by the
paved or the unpaved road, and afterwards follow a steep and
partly ancient road to the site of the venerable town of Tusculum,
the foundation of which is traditionally ascribed to Telegonus, the
son of Ulysses and Circe, the birthplace of the elder Cato and a fa-
vourite residence of Cicero. In the middle ages the ancient castle on
the summit of the hill was occupied by a warlike race of counts, who
were generally in league with the emperors against the Romans.
The latter, having been signally defeated in the reign of Frederick I.
(1167), retaliated by dismantling the castle in the pontificate of
CoelestinellL, in 1191. Nothing therefore now remains of the ancient
Tusculum but a heap of ruins.

In ascending from the Villa Ruffinella we soon obtain a view of
the Amphitheatre (with accommodation for 3000 spectators) outside
the town-walls (longer diameter 77 yds., shorter 57 yds.; arena(
52 yds. by 31 yds.), which is called by the guides Scuola di Cicerone.
About 3/4 M. to the left are some extensive ruins to which the name
Villa of Cicero has been given, as the famous 'Tusculanum' may
possibly have lain in this vicinity. Straight on is the ancient Forum
and the well-preserved Theatre (about 3'/2 M. above Frascati), ex-
cavated in 1839, as an inscription records, in presence of Maria
Christina, dowager Queen of Sardinia. At the back is a Piscina, or
reservoir, in four compartments. Passing through the gate on the
left, and descending by the ancient road, we observe a fragment of
the old town-wall, and adjoining it a curious construction of massive
blocks built over a spring, with ancient pointed vaulting.

To proceed from the theatre to the Castle (arx; 165 ft. higher;
'/4 hr.), we follow the narrow footpath to the right. The castle lay-
on an artificially hewn rock, now surmounted by a cross (2198 ft. ).
Magnificent *View from the top. On the right are Camaldoli and
Monte Porzio (p. 410); farther distant the Sabine Mts., with Tivoli
and Montecelio; then Soracte and the Ciminian Mts. ; towards the
sea the broad Campagna with its aqueducts, Rome, and the dome of
St. Peter's ; to the left, Grotta Ferrata, Marino, Castel Gandolfo,
and the Monte Cavo, with Rocca di Papa below it.

From Tusculum to Rocca di Papa, see p. 416.

In returning we pass through' the first gate to the right, im-
mediately below the castle, and descend the path leading to the E.,
keeping to the left at the first fork, to the right at the second. At

410 Environs of Rome. GROTTA FERRATA. 2. Alban MU.

the foot of the hill of Camaldoli, a suppressed monastery founded
by Paul V. in 1611, we take the road to the left (1 M. straight on
is the road from Frascati to Palestrina, see below). In about l/2 hr.
we reach the wall of the Villa Mondragcne, erected by Cardinal Al-
temps under Gregory XIII., now occupied by the Jesuits as a school.
Visitors to the fine garden and view-terrace skirt the wall to the
right to the gate (knock; fee), and should quit the garden by the
cypress avenue and the lower exit. The road to the left runs be-
tween walls, passing on the right the Villa Falconieri, the oldest
near Frascati, planned by Cardinal Rufflni before 1550, with a
palazzo by Borromini and pictures by Carlo Maderna. It is now in
possession of the Trappists of Tre Fontane (p. 399).

The Road from Frascati to Palestrina, 15V2 M. (diligence to Monte
Compatri in about 1 hr., fare 1 fr., to Monte Porzio 75c. • comp. Maps,
pp. 406, 428), especially the first half, is beautiful, but destitute of shade.
From the N.E. corner of the town the road leads past the lower entrance
to the Villa Mondragone (see above), which is approached by an avenue
of cypresses. Farther on are the ruined vaults of an ancient villa, arbi-
trarily said to have belonged to Cato. After 2 M. the road passes (r.) the
olive-clad hill on which Monte Porzio Catone (1480 ft. ; fine view from the
Piazza Borghese) is picturesquely situated ; l1/:! M. farther on it reaches
Monte Compatri (1912 ft. ; railway-station , p. 458), with a chateau of the
Borghese. We do not enter the village, but pass the approach to it, and
descend by a somewhat rough road, passing a wasMng-trough. Near a
(1 M.) considerable group of trees we turn to the right, and close to
('/3 M.) a small chapel with an image of the Madonna, again ascend to the
right. About 2 31. farther on the broad road leads us to the highroad from
Rome ; following the latter for 3/t M. we reach the Osteria di San Cesario,
beyond which the Via Labicana diverges to the right. About 3/4 M. farther
on our road crosses the Rome and Naples railway (p. 428), and then,
leaving on the right the road to the station of Zagarolo (p. 428), ascends
to (4 M.) Palestrina (p. 42S).

Two routes lead from Frascati to (2!/2 M.) Grotta Ferrata:
the carriage-road to Marino (p. 410), and. Rocca di Papa (p. 416), and
the shorter path diverging, below the Villa Torlonia (p. 408), to
the left from the highroad. (In descending, keep to the left ; '^ hr.
farther on, where the path divides, turn to the left; and again to the
left 5 min. farther on, at the entrance to the wood.)

Grotta Ferrata (1080 ft.), a Greek monastery of the Basilians,
was founded by St. Nilus under the Emperor Otho III. in 1002. At
the end of the 15th cent, it belonged to Giul. della Rovere, after-
wards Pope Julius II., who fortified it with moats and towers. Of
the old Church only the vestibule remains, with (r.) a beautiful statue
of the Madonna. The portal, with ornaments and a Greek inscrip-
tion, dates from the 11th cent.; over the door are mosaics of the
Saviour, the Madonna, and St. Basil. The church, restored in 1754,
contains nothing worthy of mention.

Interior. From the right aisle we enter the Chapel op St. Nilds decor-
ated with ""Frescoes from the life of the saint, one of the chief works of Do-
menichino (1610; p. lxxiv), restored in 1819 by V. Camuccini. At the entrance
of the chapel, on the left, is represented the meeting of the saint with
Otho III. ; the attendant in green, holding the emperor's horse, is Domen-
ichino himself; to the right of the horse, Guido Reni is also represented

. Alban Mts. MARINO. Environs of Rome. 411

in a green costume, and behind him Gnercino. The boy in front of the
horse, with bine cap and white feather, bears the features of a girl of
Frascati to whom the artist was attached. On the right St. Bartholomew
arrests the fall of a column, and saves the lives of the workmen. At the
altar on the left, St. Nilus heals a boy possessed by an evil spirit with
oil from a lamp of the Madonna. On the right, the Madonna presenting
a golden apple to St. Nilus and St. Bartholomew. In the lunette, Death
of St. Nilus. Outside the chapel , St. Nilus calming a storm by which
the harvest is endangered; the saint kneeling before the cross. On the
ceiling, the Annunciation.

Fairs held at Grotta Ferrata on 25th March and 8th Sept. attract
numerous peasants from the neighbourhood , as well as strangers
from Rome.

Fkom Rome to Albano we may take either the Terracina rail-
way (p. 442) or the Nettuno railway (p. 438) as far as the station
of Cecchina (18M. in about 3/4hr. ; fares 3 fr. 40, 2fr.40, lfr. 55 c).
whence a steam-tramway plies to (2l/2 M.) Albano on the hill in
20 min. (fares 80, 60, 40 c). But it is preferable to take the direct —

Railway feom Rome to Albano (Ferrovia dei Castelli Romani),
I8V2 M., in about 1 hr. (fares 3 fr. 50, 2 fr. 45, 1 fr. 60 c), starting
from the Central Station in Rome. This route follows the main line
(p. 428) to beyond the Porta Furba. To the left is the Torre Pignat-
tara (p. 391), to the right the arches of the Acqua Felice. The line
then crosses the ancient Via Latina near the tombs mentioned on
p. 391, and skirts the Via Appia Nuova (p. 391). — 4 M. Acqua Santa
(p. 392). Then, on the right, the tombs on the Via Appia. — 7 M.
Capannelle (p. 394) ; to the right are the Casale Rotondo and Tor
di Selce (p. 396), to the left the mountains. The line now begins to
ascend gradually, and beyond a curve and a tunnel, soon reaches —

15 M. Marino (1165ft.; Albergo Italia, plain), picturesquely
situated on a mountain-spur, the site of the ancient Castrimoenium.
In the middle ages it was a stronghold of the Orsini , who defended
themselves here against their enemies , particularly the Colonnas ;
but the latter captured Marino under Martin V. in 1424, and still
possess it. The town (7307 inhab.) is noted for its excellent but
somewhat strong wine. It contains a Corso (the principal street)
and a tasteful Fountain (17th cent.). The church of La Trinith,
to the left of the Corso, contains a Trinity by Guido Reni. In the
church of the Madonna delle Grazie, St. Rochus by Domenichino.
The Cathedral is dedicated to St. Barnabas.

The railway next crosses the deep gorge in which flows the
brook known in antiquity as the Aqua Ferentina, the source of which
was the rallying point of the Latin League. Charming retrospect
of Marino. Beyond a tunnel, we enjoy a fine view, to the left, of
the Alban Lake.

The *Lake of Albano (960 ft. above the sea-level), about 6 M.
in circumference, is of volcanic origin though no lava ever flowed
from it (comp. p. 407], and is of sombre and melancholy aspect,

412 Environs of Rome. CASTEL GANDOLFO. 2. Alban MU.

although its banks are well cultivated. The N. half near Oastel
Gandolfo is shallow, but the S. half is 560 ft. deep. Both it and
Lake Nemi are fed by abundant subterranean springs, caused by
melted snow and rain. It is drained by a very ancient Emissarium
which issues below Castel Gandolfo.

The train rounds the inner margin of the crater, skirting the
lake, of which it affords a beautiful view. To the left soon appear
Monte Oavo and Rocca di Papa. On the long low hill above the E.
bank of the lake once lay Alba Longa, Rome's mother-city.

The foundation of Alba Longa belongs to a prehistoric period, and
tradition has attributed it to Ascanius, the son of iEneas. .It was the an-
cient capital, and the political and religious centre, of the Latin League,
but was destroyed at an early period by its younger rival on the banks
of the Tiber, after which, however, the ancient festivals of the League on
the Alban Mt. still continued to be celebrated.

No traces of the buildings of Alba Longa remain, but the cutting of
the hillsides reveals the former presence of human activity. The necro-
polis lay on the so-called Monte Cucco, to the W. of the town, and num-
erous graves, with hut-urns, bronze implements, and household utensils,
have been discovered. It is alleged that some of these were found beneath
the peperino, which would prove that they date back to an era when the
Monti Albani were still in a state of volcanic activity.

16l/2 M. Castel Gandolfo (1395 ft.; Ristorante della Ferrovia,
with view-terrace, good ; carriage-hire about the same as at Albano,
p. 413), the seat of the Savelli in the middle ages, has belonged to
the popes since 1596. It is an insignificant place (1980 inhab.) with
a large Papal Palace, erected by Urban VIII. from designs by Carlo
Maderna, and splendidly situated high above the Alban Lake. The
chateau was formerly a favourite summer-resort of the popes, and
enjoys the privilege of exterritoriality by the guarantee of 1871. —
The village is reached from the station either by a direct but steep
footpath, or by the carriage-road which leads in 10 min. to the N.
entrance and thence ascends to the left to the Piazza del Plebiscito,
with the papal palace. At the S. end of the village, to the right,
lies the Villa Barberini, with shady grounds, the ruins of a villa
of Domitian, and a fine view of the Campagna (visitors usually
admitted for a gratuity").

A charming avenue, shaded by evergreen oaks, the so-called *Galleria
di Sopra, leads above the lake to Albano in '/a hr., affording numerous
pretty retrospects of Castel Gandolfo. At the Capuchin monastery (see
p. 413) the path descends to the right to Albano. The route in a straight
direction, close under the convent-wall, leads in 25-30 min. to the high-
road from Albano to Rocca di Papa (p. 416). The beautiful footpath to
the left, along the lake, leads to Palazzuola (p. 416).

Visitors to the Emissaeicm, the above-mentioned artificial outlet of
the Alban Lake, must bring the custodian with them from Castel Gan-
dolfo (he lives in the red fisherman's hut, at the N. end of the village;
fee l-ll/s fr.). The path descends steeply from the Galleria di Sopra
a little before the S. end of the village to the bank of the lake. The
descent occupies nearly i/4 hr., and the whole inspection about 1 hr. The
Emissarium, an imposing work, was constructed according to tradition
by the Romans in B.C. 397, during the siege of Veii, when the lake
rose to an unusual height, but it is probably of still more remote origin.
It is hewn in the solid rock. At the entrance is a large stone building

2. Alban Mts. ALBANO. Environs of Rome. 413

resembling a nymphseum. The channel is 7-1.0 ft. in height, and issues
3/4 M. below Albano by the village of La Mola , where the water is used
as a motive power for mills, descending thence to the Tiber. The custod-
ian floats lighted pieces of candle on boards down the stream, in order
to give visitors an idea of its length (about 1300 yds.).

Beyond two more tunnels the train crosses the highroad i'roni
Rome to Albano and halts at —

18l/2 M. Albano. — Hotel. EnnorA or Posta, Piazza Principe Um-
berto, 3 min. above the station, with trattoria and cafe, R. 3-5, pens. 8 fr. —
Rislorante Salustri in the Piazza Principe Umberto ; the landlord procures
bedrooms for visitors ; Rislorante \Alhamora. — Caffk Carones, Piazza Prin-
cipe Umberto.

Omnibus from Albano to Genzano (p. 414), fare 40 c. — Carriage with
one horse to Nemi, one pers. 5, two pers. 8 fr. ; to Rocca di Papa (p. 416),
about 6 fr. ; to Frascati via Rocca di Papa (incl. halt for a visit to the
Monte Cavo), 12-15 fr. (bargain advisable).

Those who desire to make the tour mentioned at p. 407, via Rocca
di Papa to Monte Cavo and back by Nemi, Genzano, and Ariccia (6-7 hrs.),
must turn to the left at the Piazza Principe Umberto, cross the Piazza
Principe Amedeo, and ascend to the right to the Capuchin convent.

Albano, officially Albano Laziale (1260 ft.), a small town with
8038 inhab., is supposed to owe its origin to the Emp. Septimius
Severus, who here, about 195 A. D., erected the large barracks for
the Second Parthian Legion in the Albanum Domitiani, or Villa of
Domitian, on the Via Appia. [Numerous tombs, mostly colossal
sarcophagi of soldiers, were found in 1866 above the Parco Ohigi
(p. 414) and left in situ.] The settlement that sprang up round
these Albana Castra became the seat of a bishop in 460. It is re-
peatedly mentioned in connection with the contests of the popes
with the citizens of Rome in the 11th century. In possession of the
Savelli from 1260 to 1697, it passed in the latter year to that of
the papal government. Its lofty site and beautiful environs attract
many visitors in summer, but it is not entirely exempt from fever.
It is an excellent centre for a number of interesting excursions.

Above the station is the Piazza Principe Umberto, the terminus
of the steam-tramway from Cecchina (p. 41 1), and a fine point of
view. The upper end of the piazza is skirted by the Via Appia,
forming the S. W. boundary of the town, which stretches up the side
of the hill. Between the monastery of San Paolo and the loftily-
situated Capuchin Monastery (to the right from the Piazza, then the
first turning to the left) lay an Amphitheatre , the scanty remains
of which are partly seen from the road. The church of Santa Maria
della Rotonda stands on the foundations of an ancient circular temple.
The ruins in the street of Gesu e Maria are supposed to be the re-
mains of baths.

Outside the N.W. entrance to the town, to the right of the
Via Appia (between this road and the avenue known as the Galleria
di Sotto, leading to Castel Gandolfo), rise the remains of a large
tomb, called without authority the. Tomb of Pompey. — On the S.E.,
just outside of the town, to the right on the road to Ariccia (be-
tween it and the ancient road), stands a remarkable ancient Tomb

414 Environs of Rome. ARICCIA. 2. Alban Mts.

in the Etruscan Style, consisting of a massive cube, originally sur-
mounted by five obtuse cones, of which two are still standing. It
was formerly regarded as the tomb of the Horatii and Curiatii.

From Albano to Rocca di Papa, and thence to the top of Monte
Cavo, see pp. 416, 417.

About 3/4 M. to the S.E. of Albano lies Ariccia. Beyond the
above-mentioned tomb the road crosses the imposing Viaduct which
spans the deep gorge between Albano and Ariccia, erected by Ber-
tolini under Pius IX. in 1846-53, 334 yds. in length, and 192 ft.
in height, consisting of three series of arcades of six, twelve, and
eighteen arches respectively, one above the other. To the right we
obtain a view of the extensive plain as far as the sea ; to the left
is the park of the Palazzo Chigi, a mansion built by Bernini, immed-
iately to the left beyond the viaduct. This park, containing line old
timber, is kept in as natural a condition as possible. Permission to
visit it should be obtained through the porter or gardener (fee ifa-l fr.).

Ariccia (1350 ft. ; Cafe-Restaurant in the piazza), a village with
3524inhab., frequently attracts visitors in summer on account of
the proximity of the woods. The women of Ariccia and Genzano
are famed for their beauty. The ancient Aricia, which belonged to
the Latin League, lay towards the S., in the Valle Aricciana (928 ft.),
a valley below the modern town , encircled by cliffs of tufa and
probably of the same volcanic origin as the neighbouring lakes
(see p. 407). It was the fifth station on the Via Appia, which runs
towards Genzano on massive and still visible substructures, at the
foot of the modern town now occupying the site of the ancient Arx
or citadel. (A circuit of V2 nr- DY the valley, instead of the direct
route from Albano to Ariccia, is interesting.) In the middle ages
Ariccia passed to the Savelli, and in 1661 was purchased by the
Chigi, the present proprietors.

From Ariccia to Genzano is a walk of V2"8/* ^r- (omnibus, see
p. 413). The beautiful and shady new road at first leads a little
to the left and crosses three viaducts, which command fine views.
After V2 M. it passes Oalloro , formerly a Jesuit church. About
t/2 M. farther on, the road divides ; the branch to the left descends
to a Capuchin monastery and to the Lake of Nemi (below is a partly
ancient road to Nemi) ; that in the middle leads through an avenue
to the (4/2 M.) Palazzo Cesarini; and that to the right descends to
the town.

Genzano (1430 ft. ; Trattoria Stocchi della Grotta Azzurra, Trat-
toria Torli, both in the Corso Vittorio Emanuele, plain, bargain
desirable; the landlords procure night - quarters for visitors) has
7376 inhab., who carry on a considerable cultivation of wine. Offic-
ially known as Qeniano di Romaj the proverty-stricken village pre-
sents no attraction beyond its fine situation, high above the S.W.
bank of the Lago di Nemi. The best view of the lake is from the

2- Environs of Rome. 415

gardeu of the Palazzo Cesarini, which slopes rapidly towards the
water (entrance to the left, opposite the palace; admission granted
on application at the palace). — The famous Infiorata di Genzano,
or flower-festival, formerly celebrated at Genzano on the 8th day
after Corpus Christi, is now seldom held.

The **Lago di Nemi (1045 ft.), about 3i/2 M. in circumference
(area 412 acres) and about 110 ft. deep, lies in an oval basin which
is either a crateriform subsidence or an actual crater. It is drained
by an artificial emissarium. The water is beautifully clear, and
rarely ruffled by wind. The precipitous wooded slopes of the basin
are of tufa, streaked with lava; they are 330 ft. in height and are
carefully cultivated. In ancient times it was called the Lacus
Nemorensis, and sometimes the 'Mirror of Diana', from a temple
(see below) and nemus, or grove sacred to that goddess, whence
the present name is derived. This exquisite lake, the gem of the
Alban Mts., is especially beautiful when the sun is high.

From Genzano to Nemi 3 M. ; by the Palazzo Cesarini we follow
the road to the right, through the town, and past the church of the
Santissima Annunziata. The pleasant road skirts the upper margin
of the lake, affording several fine views. — A beautiful footpath
descends to the lake from Santissima Annunziata, and ascends again
near the mills below Nemi, traversing luxuriant orchards.

Nemi (1710 ft.) is a small mediaeval town with an ancient castle
of the Colonna, now belonging to Prince Ruspoli. The inn (Albergo
Desanctis, fair) possesses a small verandah which commands a de-
lightful *View of the lake and the castle of Genzano, of an old
watch-tower beyond them, and of the extensive plain and the sea.
Nemi is famous for its strawberries.

Iu the district below Nemi, known as 'I Giardini', considerable remains
of the foundations of the Temple of Liana and a colonnade surrounding
it have been discovered. A little farther on in the direction of Genzano,
near the 'Casa dei Pescatori*, about 30 yds. from the bank, are the sunken
remains of an artificial island constructed in the shape of a Roman State
Barge. Attempts made in 1895 and 1901 to raise it resulted in the discovery
of several tasteful bronze ornaments, mosaics, etc. A few massive beams
' are the only relics now to be seen on the spot.

An alternative route for the return from Nemi direct to Albano
is the above-mentioned footpath on the N.W. bank of the lake. An
omnibus (fare li/2 &0 Plies dally from Nemi to Albano, starting
towards evening and arriving in time for the last train to Rome.

From Nemi to the (2 hrs.) top of Monte Cavo (p. 417) a guide is
advisable on account of the intricate forest-paths (1-1 ^ fr.).

Monte Cavo.

The ascent of Monte Cavo may be accomplished in about 3'/4 hrs. from
Frascati, in about 23/4 hrs. from Albano, and in about 2 hrs. (with guide)
from Nemi.

Feom Fbascati to Rocca di Papa is about 5 M. by road, which on
account of the ascent represents a walk of not less than 2 hours. The

416 Envir. of Rome. RUUUA 1)1 PAPA. 2. Alban Mts.

day's journey indicated at p. 407 may be lightened by taking a car-
riage (one-horse 7L/2 fr-) or the omnibus (p. 407) to Rocca di Papa.
The road diverges to the left from the road to Marino (p. 411), at a
point a little more than halfway, about li/4 M. to the E. of Grotta
Ferrata (p. 410), beyond the Ponte degli Squarciarelli, and ascends
steadily, winding towards the end. — Rocca di Papa may also be
reached from the castle of Tusculum (p. 409) direct in 2-3 hrs. by
field and forest paths, passing the Madonna Precolis (guide desir-
able, l-iy2 fr.).

Fkom Albano to Rocca di Papa, about 4y2 M. (carriages, see
p. 413; walkers require about l3/4 hr.). The road (bad in places)
leads to the right below the Capuchin convent (p. 413), and alter
12 min. , at the park of the Palazzo Chigi (p. 414), is joined by
a road leading to Ariccia. About 3/4 M. farther on the road to the
Galleria di Sopra (p. 412) diverges to the left, forming a short-
cut for pedestrians from Albano. — The road soon enters a fine
wood; the soil is composed of scoriae and ashes from the crater of
Monte Cavo.

From a bridge, about V/t M. short of the Madonna del Tufo (see
below) a broad and stony road, diverging to the left, leads in 12 min. to
the Franciscan monastery of Palazzuola, situated above tlie E. margin of
the Alban Lake and visible from the highroad. The monastery dates from
the 13th century. Its garden contains a curious antique rock-tomb. Hence
we may follow the S. shore of the lake to Albano; see p. 412.

The road now ascends more steeply and, beyond the Madonna
del Tufo (ca. 2130 ft.) commands a splendid *View (finest by
evening light) of the Alban Lake, the mountain-slopes, with Marino
and Grotta Ferrata, and the Campagna stretching away to Rome.
Crossing several streams of basalt, it reaches Rocca di Papa, where
it joins the road from Frascati. Instead of following the road to the
left to the town, we may ascend direct to the Campo di Annibale
from beside a huge lime-tree enclosed by a low wall.

Rocca di Papa. — Hotels. Albekgo e Tkaitobia deli,' Angeletto,
two houses in the Piazza in the lower part of the town, R. 1V2-2, pens.
4-6 fr., plain but good; Alb. e Tratt. Belvedebe, in the Via del Tufo,
above the town (fine view), mediocre.

Rocca di Papa (2030-2490 ft.), picturesquely perched on a rock,
with 4023 inhab., is now a favourite summer-resort of the Romans,
with numerous villas and a seismographical station ( Osservatorio
Oeodinamico), and lies amid fragrant woods on the outer slope of
the great extinct crater of Campo di Annibale (2460 ft.), so named
from the unfounded tradition that Hannibal once pitched his camp
here. The garrison of Rome occupies summer-quarters here in July,
August, and September.

In order to reach the summit of Monte Cavo we turn to the
right on the rim of the crater, which is reached by a walk of
15-20 min. through the steep lanes of the town, and ascend the

■2. Alban Mts. MONTE CAVO. Environs of Home. 417

well-preserved and shady Via Triumphalis, an ancient road, paved
with basalt, once traversed in triumphal procession by the generals
to whom the Senate refused a triumph at Rome. From two open
spaces, about three-quarters of the way up, a better view than
from the top is obtained of Marino on the right, the Lago d'Albano
to the left, Albano, Ariccia with the viaduct, Genzano, the Lago di
Nemi, and Nemi itself.

On the summit of the *Monte Cavo (3115 ft.), the ancient Mons
Albanus (an ascent of 3/4 hr. from Rocca di Papa), stood the vener-
able sanctuary of the Latin League, the Temple of Jupiter Latialis,
where the great sacrificial festival of the Feriae Latinae was cele-
brated annually. Its scanty ruins were destroyed about 1777, when
Cardinal York, the last of the Stuarts (p. 326), built a Passionist
monastery on the spot. The latter, now the property of Prince
Colonna, has been converted into a Meteorological Station and an
Inn (pens. 5-6 fr., unpretending). A portion only of the ancient
foundations is preserved on the S.B. side of the garden-wall. The
View from several different points in the garden embraces the sea,
the coast from Terracina to Civita Vecchia, the Volscian and Sabine
Mts., Rome and the Campagna, and below the spectator the beautiful
Alban Mts. The distant view, generally obscured by mist, is seen
to the best advantage immediately before sunrise, after sunset, or
when a passing shower has cleared the atmosphere.

From Monte Cavo to Nemi, about l'/z hr. (guide, l-lV2fr., convenient
but not necessary if the following directions be carefully observed). A
steep and stony footpath (the beginning of which should be pointed out)
descends from the S E. angle of the top, and in 8-10 min. joins an easy
path from the Campo di Annibale, which we fo'low to the right. Fine
view of Ihe Lago di Nemi and the sea. About 25 min. farther on a path
diverges to the left and another to the right, but our route leads straight
on. At the fork 10 min. farther we keep to the right, at the (10-12 min.)
next fork to the left, and in 1 min. reach a broad road, which we follow
to the right for 12 min. when we turn to the left. At the (3 min.) spring
we turn to the left, then to the right almost immediately and follow a
stony path which soon brings us in sight of Nemi.

3. The Sabine Mountains.

That chain of the Apennines which descends abruptly and bounds the
Roman plain on the B., named Sabine Mts. from the ancient inhabitants,
attains a height of 4400 ft. and is full of interest for lovers of the pictur-
esque. It forms the margin of the mountain-range on the side facing the
Koman depression occupied by volcanoes (comp. p. 381). Mt. Soracte
(p. 96) and Cape Circeo (p. 447) are its isolated outliers. The Volscian
Mts. (p. 440), to the S.E. of the Alban Mts., form a continuation of the
great Apennine system. The unfruitful limestone rock has been covered
by fertile volcanic ashes, and consequently has been made capable of bear-
ing luxuriant crops. The olive-trees of the district are famous. — As a
rule the Inns are good, though plain, but enquiry as to charges should
be made beforehand; usual charge for board and lodging 5-G fr. , and 1/2 fr.
gratuity. — Carriages are not always to be had except at Tivoli. The
public conveyances are not recommended when ladie3 are of the party.

Those whose time is short must he satisfied with a visit to Tivoli, which
was a favourite summer - resort of the Romans in the time of Horace. A

Baedeker. Central Italy. J4th,,j:dition. 2~i

418 Environs of Rome. BAUIN1. 3. Sabine Mts.

fine day in April or May, when the vegetation is at its freshest, is the best
time for this excursion. — If several days are devoted to the Sabine
Mts. , and they are well worth it, the following tour may be made: 1st
day, from Rome by early train to Tivoli, thence in the evening or the
next morning to Subiaco (p. 426); 2nd day, visit the monasteries in the
morning, and in the afternoon, walk or drive to Olevano (p. 430) ; 3rd day,
walk or take the diligence to Valmontone (p. 441) or Palestrina (p. 428), and
return thence by rail to Rome (or to Segni, comp. p. 441). Those who
wish to reserve Tivoli, the culminating point, for the end may proceed as
follows : 1st day, from Rome by early train to Palettrina or Valmontone,
and thence walk or take the diligence to Olevano; 2nd, to Subiaco; 3rd, to
Tivoli; 4th, back to Rome. — A pleasant drive may be taken from Tivoli
to Subiaco or Genazzano (pp. 425, 430; 3'/2-4 hrs.).

From Borne to Tivoli.

Those who propose to devote one long day to Hadrian's Villa and
Tivoli should proceed to Tivoli by steam-tramway, breaking their journey
at the Villa, and should return to Eome by railway, as the last tramway
from Tivoli starts at a comparatively early hour. To visit the Villa from
Tivoli by carriage (there and back) takes more time.

1. Railway (Rome, Solmona, and Castellammare-Adriatico line),
241/2 M. in I-I1/2 hr. (fares 4 fr. 55, 3 fr. 20, 2 fr. 5 c). On Sun. and holi-
days return-tickets are issued at a single fare. This route is more pictur-
esque than that of the steam-tramway (see p. 419).

The trains start from the principal station at Rome (p. 133).
On the right soon appears the ruined Tor de' Schiavi (p. 390). ■ —
5 M. Cervara di Roma , the grottoes near which were once cel-
ebrated for the artists' festivals held in them. — 7*/2 M. Salone. A
villa here, built in 1525 from Baldassare Peruzzi's designs for Card.
Ant. Trivulzi, has interior decorations by Giov. Maria Falconetto. —
9 M. Lunghezza, the ancient Collatia, a 'tenuta' belonging to the
Duca Strozzi, with a 15th cent, baronial castle, prettily situated in
the well-wooded valley of the Teverone.

12^2 M. Bagni [Restaurant at the Baths; two tolerable Osterie
by the steam-tramway), the station for the sulphur-baths of Acque
Albule, the Roman Aquae Albidae, which were much frequented in
ancient times, and were again fitted up for the reception of patients
in 1879 (swimming-baths for ladies and gentlemen ; 68° Fahr. ; hath
from 1 fr.). The water, the unpleasant smell of which is due to its
strong impregnation with sulphuretted hydrogen , rises from the
tufa rock and is probably the outlet of a subterranean source from
the Apennines.

The railway next crosses the highroad to Tivoli. To the right
fine view of the road and of the railway-viaducts farther on, with
the mountains in the background. — 15^2 M. Montecelio, formerly
called Monticelli, said to occupy the site of the ancient Corniculum.
— The line begins to ascend rapidly.

201/2 M. Palombara. The little town [Palombara Sabina, 1220 ft.),
with 4517 inhab. and a chateau of the 14th cent, belonging to the
Savelli family, is situated on an isolated hill, 6 M. to the N.

Palombara station is the best starting-point for the ascent of Monte
Gennaro (4160 ft.), one of the highest peaks of the Sabine Mts.. familiar to

3. Sabine Mts. MONTE GENNARO. Environs of Rome. 419

the eye of every visitor to Rome. The excursion may be made from Rome
in one day. A luncheon-basket should be provided. We follow the high-
road from the station to (S/4 hr.) the village of Marcellina, where we obtain
a guide (2-3 fr.). Thence we may either follow the steep and conspicuous
ravine of the Scarpellata to the (3-4 brs.) summit; or we may take the
easier though somewhat longer route making a circuit to the E. partly
through wood and crossing several wooded pastures, and finally traversing
the fine maple and oak woods of the Pratone. About '/t hr. below the
summit the latter route pasfes a copious and excellent spring, where
luncheon may be taken under the shade of the trees. The other parts of
the mountain are destitute of water. On the summit is a trigonometrical
signal. The view from the top is very extensive, comprising the coast from
Mte. Circeo as far as the lake of Bracciano, the broad plain with innumerable
villages, from the Volscian and Alban Mts. as far as Soracte and the Ciminian
Forest; then the Apennines, as far as the snowy peaks of the central range.

— The descent may be made via the village of San Polo de' Cavalieri
(2135 ft.), whence a road leads to the station of San Polo (p. 425), or via
Rocca Oiomne and through the Valley of the Licenza (p. 425) to the station
of Vicovaro (p. 425).

A view of the Campagna opens on the right as the train proceeds :
in front, Tivoli , with the beautiful cypresses of the Villa d'Este
(p. 424). Beyond a tunnel we enjoy a view to the right of the wat-
erfalls (p. 423) and the town. A short and a long tunnel follow. —
24^2 M. Tivoli; the station is outside the Porta Sant' Angelo.

2. Steam Tramway, 18 M., in ls/4hr. (fares 2 fr. 50, 1 fr. 85 c, return
3 fr., 2 fr. 20 c). The steam-cars start outside the Porta San Lorenzo, for
which a tramway in connection leaves the Piazza Venezia (Via Nazionale
131) V2 hr. before their departure, running via the Piazza delle Terme
(tramway- lines 6 and 12 of the Appx. ; through-tickets to Tivoli may be
obtained in the tramway-cars). Cab to Ihe tteam- tramway, see p. 4 of
the Appendix. As the time-table of the steam-cars is frequently altered,
enquiry should be made at the kiosque at the corner of the Piazza Venezia ;
Ihe hours given in the time-tables and newspapers are not always correct.

— Travellers with through-tickets are allowed to break their journey in-
order to visit Hadrian's Villa (past which the steam-tramway runf), which,
if time presses, can be done in 2 hrs. Or visitors may walk from the
Villa to Tivoli, as suggested at pp. 422 and 424.

The highroad, along which the steam-tramway runs, quits Rome
by the Porta San Lorenzo (p. 183), passing the church of that name
on the right. The road, which is generally identical with the an-
cient Via Tiburtina , crosses the Anio , now called the Teverone,
by the Ponte Mammolo (station, 4 M.). This river forms the cel-
ebrated cascades at Tivoli, and falls into the Tiber at the Ponte Sa-
lario (p. 38S). The bridge is said to be named after Mammaea, the
mother of Alexander Severus.

7 M. Settecamini. — 121/-2 M. Bagni , station for Acque Albule
(p. 418). — In the vicinity are the travertine quarries which fur-
nished building-material for ancient and for modern Rome, for the
Colosseum and for St. Peter's alike. The stone (Lapis Tiburtinus) is
formed of the lime deposited by mountain streams ; when freshly
quarried it is soft and easy to work, but it hardens on exposure. In
'/2ur. more the Anio is crossed by the Ponte Lucano (station, 14'/2 M0i
sear which is the well-preserved Tomb of the Plautii , dating from
the early empire , and resembling that of Ctecilia Metella (p. 395).

27*

420 Environs of Rome. VILLA ADRIAN A. 3. Sabine Mu.

15^2 M. Villa Adriana (Osteria at the tramway-station). The
entrance of the villa (comp. the Map, p. 422) lies about ^hr.'s walk
from the tramway-station (cab usually to be had, l-l1/2 fr- for 1-4
pers.). A fine avenue of cypresses leads to the lower Casa della
Guardia, where tickets are sold(lfr.,Sun.free;perniesso,seep. xxii).

The *ViLiiA of Hadrian , which with its magnificent grounds
occupies an area of about 160 acres (four times larger than the Pala-
tine), dates from the later years of the far-travelled emperor (d.
138A.D.). Hadrian, as his biographer Spartian relates, 'created in
his villa at Tivoli a marvel of architecture and 1 and scape-gardening ;
to its different parts he assigned the names of celebrated buildings
and localities, such as the Lyceum, the Academy, the Prytaneum,
Canopus, the Stoa Pcecile, and Tempe, while in order that nothing
should be wanting he even constructed a representation of Tar-
tarus'. After the death of its founder little use seems to have
been made of this gigantic construction, which is mentioned only
once more in ancient history, when the Emp. Aurelian assigned
a villa at Tivoli, near the 'Palatium Hadriani', to Zenobia, the
captive queen of Palmyra. In the 16th cent, a profitable search for
works of ancient art was instituted here, and the ruins have fur-
nished an almost inexhaustible series of works of art, including
many of the principal treasures of the Vatican, Capitoline, and other
museums. Unfortunately, however, the destruction of the buildings
kept pace with the search for treasures of art, until in 1871 the Italian
government purchased the villa from the family of the Braschi.

The Roman archaeologists have tried to identify the extant
ruins with the buildings mentioned by Spartian in the passage
cited above, and though it is often doubtful we here follow the usual
terminology, t

Adjoining he watchman's hut is the so-called Tealro Greco, of which
the foundations of the stage and the rows of seats are still distinguishable.
Skirting the posterior wall of the stage, we then ascend to the right through
an avenue of cypresses to the Poecile, an imitation of the oroa itoixiXnj,
or painted porch, at Athens, consisting of a huge colonnade, surrounding
a garden with a large water-basin in the centre. The wall (220 yds. long)
which bounds this on the N. runs almost due E. and W., so that of the
arcades on either side one lay in shade while the other had a full S. aspect.
The natural plateau of the hill has been enlarged on the W. and S.W. by
gigantic substructures, which contain three stories of vaulted chambers,
accessible through an entrance on the S. side of the square (PI. 1), near the
cypress-tree. These chambers, generally called Le Cento Camerelle, are
supposed to have been occupied by the imperial guards or slaves. — At
the N.E. corner of the square is the entrance to the Sala de' Filosofi,
with niches for statues. From it we enter a Circular Building (PI. 3) con-
taining a water-basin and an artificial island adorned with columns; this
is usually described as a Natatorium or swimming-bath, but it is more
probably a pavilion, used perhaps as a summer dining-hall. To the E.
of this building was situated the Principal Palace. We first enter, at a
somewhat higher elevation, a rectangular court (Corlile della Biblioteca),
the left side of which is occupied by the so-called Library (PI. 4), which
still remains with the exception of the upper story. To the N. lay a
Garden. A lower corridor (Heliocaminus), on the left side of which was
a fine vestibule, leads N.E. to a room supposed to have been a Triclinium,

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commanding a fine view of Tempe, Tivoli, and the mountains. Hence
we proceed to the S. (right), through the 'Ospedale' (PI. 5; chambers with
a cruciform ground-plan and remains of frescoes and well-preserved mosaic
pavement), to the Doric Peristyle (PI. 6), and to a large rectangular space
known as the Qiardino. Some fine mosaics (p. 355) were found in the ad-
joining rooms (Triclinio). On the E. side of the Giardino is the (Ecus
CormtMus (PI. 7), a hall the ends of which are occupied by large seini-
•circular recesses. In the centre are two small fountain-basins. To the
right is the Basilica, with 36 marble pillars. On the W. it is adjoined by
a room with an exedra, in which is an elevated basis or platform; this
is supposed to be the throne-room. — We now return to the (Ecus Corin-
thius, and on quitting it turn to the right. Beyond an octagonal vestibule
we enter the so-called Piazza d'Oro, a court surrounded with a colonnade
of 68 columns, alternately of Oriental granite and cipollino, of which the
bases alone are now in situ. The costly material of the decorations found
here in the excavations of the 18th cent, gave rise to the name. On the
S.E. side of the Piazza d'Oro is a domed chamber, with a semicircular
apse, containing water-works and a fountain.

We now return to the Giardino, skirt its S. side, and follow the path
leading to the S. past a handsome semicircular Exedra (PI. 9), with a
water-basin, to the Quartiere dei Vigili, an isolated lofty building supposed
to have been occupied by soldiers or by imperial officials. Farther on is a
large block of buildings facing the W. We pass through a Cryptoporticus and
enter a suite of rooms from which we overlook the Stadium. On leaving
this building we proceed to the S. along the substructures. In the middle
of the lower-lying space which they enclose are the Thermae, with remains
of tasteful stucco ornamentation. To the left as we leave the Thermse opens
the Valley of Canopus, artificially cut in the tufa rock. 'Canopus', says
Strabo, 'is a town 120 stadia from Alexandria, named after the steersman
of Menelaus, who is said to have died here, and containing a highly-
revered temple of Serapis .... Troops of pilgrims descend the canal
from Alexandria to celebrate the festivals of this goddess. The neigh-
bourhood of the temple swarms day and night with men and women,
who spend the time in their boats dancing and singing with the most
unbridled merriment, or find accommodation in the town of Canopus beside
the canal and there prosecute their orgies'. Hadrian constructed the canal,
with the temple in the background, and also numerous small chambers,
where he caused festivals to be celebrated in the Egyptian manner. At the
end of the valley is a large and well-preserved recess, with a fountain, be-
yond which was a system of subterranean halls, terminating in a cella
with a statue of Serapis. Many of the Egyptian works of art in the Vati-
can (p. 360) were discovered here.

Returning from the Canopus and passing in front of the above-
mentioned Thermee, we reach a second series of Baths, smaller but in
better preservation than the others. We pass through a modern door into
the Tepidarium, a vaulted apartment with two large baths, beyond which
is the octagonal Apod\terium, to the left of which is the circular Frigi-
narium. The uses of the remaining apartments cannot be more parti-
cularly ascertained. The ancient entrance was on the N. side, facing the
Poecile. — We then return to the Stoa Pcecile, pass through the door in
the N. wall, and reach the cypress avenue leading to the exit. — On our
way back we may enjoy the grateful shade of the grove below the Giar-
dino (see Plan) and the view of Tivoli and the Vale of Tempe.

The Canopus is. the last part of the Villa usually visited by trav-
ellers. About 4 min. from the Canopus, a square building with a mod-
ern tower (fine view) is known as the Torre di Timone (see lower part
of Plan). — The more distant parts, to the S., now occupied by private
owners, are more difficult to reach and to identify. To the S.E. lies the
so called Academy, more probably a residential palace like the principal
palace to the N. To the E. of this is the Odeum, with the remains of a
stage and rows of seats. To the N. of the Odeum is an extensive sub-
terranean hall, in the form of a trapezium, about 330 yds. long and 110 yds.
wide, called the Inferi, erroneousl£jupPosed tobe tne Tartarus mentioned

422 Environs of Rome. TIVOLI. 3. Sabine Mts.

by Spartian. The colonnade supposed to be the Lyceum, and extensive
ruins on the Colle di Santo Stefano, to which the name of Prytaneum has
been attached, perhaps belonged to a private villa. All these remains are
much ruined.

Tivoli lies about 1 hr's. walk (p. 424) above the Villa Adriana ;
Y4 hr. by tramway.

The tramway-line makes a wide curve to the S.E. , ascends
steeply through olive-groves past (I6I/2 M.) Regresso, and ends at
the (18 M.) Porta Santa Croce, the S.W. gate of Tivoli. Close by is
the Oiardino Garibaldi, which commands beautiful views of Rome
and the Campagna and of the Villa d'Este. From the gate we as-
cend through the town to the piazza to the E. of thePonteGregoriano.
whence the Vicolo della Sibilla leads to the left to the temples, while
the street crossing the bridge to the right leads to the waterfalls.

Tivoli. — Hotels (previous enquiry as to charges necessary). Regika,
in the Piazza del Plebiscito, E. 2'/2, B. 1, pens. 7-10 fr. ; Sikene, a de'pen-
dance of the Regina, opposite the entrance to the waterfalls , R. 3, pens, from
6 fr. ; Albekgo-Ristorvnte del Plebiscito, dej. 2V2 fr., modest but well
spoken of; Sibilla, situated near the temples, with view, pens, from 5 fr. —
Chalet-Restaurant des Cascades, Villa Gregoriana, near the entrance to the
waterfalls. — Caffe d'Jtalia, at the tramway-terminus.

Carriage to the Villa Adriana (p. 420) with one horse 4, two horses
6 fr., there and back, including IV2 hr.'s halt, 6 and 10 fr. An Omnibus
occasionally plies to the Villa (return-fare 1 fr. 60 c). — Carriage and
pair to Licenza (p. 426), about 15 fr. — Donkeys and Guides (superfluous)
to the waterfalls 1 fr. (3-4 fr. are generally demanded at first). Beggars are
numerous and importunate.

Tivoli (760 ft.), the Tibur of antiquity, with 12,881 inhab., is
splendidly situated on a limestone chain, a S. offshoot from Monte
Gennaro (p. 418), which here interrupts the course of the river Anio,
and causes it to wind through a ravine at the end of which are the
celebrated waterfalls. It existed, according to tradition, as a colony
of the Siculi long before the foundation of Rome. In B.C. 380 Camil-
lus subjugated Tibur along with Praeneste, after which it formed a
member of the league of the Latin towns allied with Rome. Hercules
and Vesta were the deities chiefly revered at Tibur. Many of the
Roman nobles of the Augustan age, including Maecenas, and the
emperor Augustus himself, founded beautiful villas here ; under
Hadrian the splendour of the place attained its climax. In the
middle ages it participated in the fate of Rome. In 1460 Pius II.
founded the citadel on the ruins of the amphitheatre. The modern
flourishing town has narrow streets lighted by electricity; it is said
to be damp and windy in spring.

Those who arrive by rail enter the town by the Porta SanV Angelo
on the N.E., immediately to the left of which is an iron gate forming
the usual (E.) entrance to the grounds at the waterfalls (p. 423;
visitors entering here may quit the grounds by the gate near the
temples , on the other side of the valley). — Straight on is the
Ponte Gregoriano, spanning the river above the falls, leading to a
small piazza, from which the main street runs to the left to the

3. Sabine Mts. TIVOLT. Environs of Rome. 423

tramway-terminus (p. 422) and the Vicolo della Sibilla to the right
to the Albergo Sibilla (on the right) and the temples.

The *Tbmple of the Sibyl, which stands in the court of the
hotel, is called by some authorities a temple of Vesta or of Hercules
Saxanus. It is a circular edifice, surrounded by an open colonnade of
18 Corinthian columns, 10 of which are preserved. This temple was
used as a church in the middle ages, to which period the round niche
in the interior belongs. The door and windows contract at the top. It
stands on a rock above the waterfalls, of which it commands an ad-
mirable view. [The ruins on the projecting rock to the right were
caused by an inundation in 1826, which carried away part of the
village, and in consequence of which the Traforo Gregoriano was
made; to the extreme left is the new waterfall; see below.] — Beside
the Tempio di Sibilla is another fine old temple of oblong shape,
with 4 Ionic columns in front, supposed to have been dedicated to
Tiburtus, or to the Sibyl. Until 1884 it was incorporated with a
church. An iron gate near it is the W. entrance to the grounds
of the waterfalls, but it is open on Sun. only.

On week-days the only entrance to the **Wateefalls is by the
iron gate on the other (E.) side between the Porta Sant' Angelo and
the Ponte Gregoriano (see Plan, 'Ingresso' ; admission V2ir-i Sun.
free; guide, see p. 422). The path directly opposite the entrance leads
to the upper end of the Traforo Gregoriano, which consists of two
shafts, 290 and 330 yds. long respectively, driven through the rook
of Monte Catillo (p. 424) in 1826-35 by the engineer Folchi, to
protect the town from inundations by providing a sufficient outlet
for the Anio even in time of flood. Near it is an aroh of an ancient
bridge in 'opus reticulatum'. As, however, the cutting can only be
entered from the lower end, visitors entering the grounds usually
turn at once to the left, pass (to the left again) through an archway
below the load , and follow the margin of the valley, enjoying a
view of the two temples on the left. We then reach a Terrace planted
with young stone-pines, whence we obtain a charming view of the
temple of the Sibyl, above us, and, below, of the New "Waterfall (354 ft.
high), by which the Anio emerges from the Traforo Gregoriano.
Passing through a door, which a custodian opens (10-15 c), we may
proceed to the fall and the entrance of the tunnel (372 paces long ;
the walk by the roaring stream is far from pleasant). — From the
terrace we retrace our steps for a short distance, and then, bearing con-
stantly to the right, follow the footpath (not the stone steps) descend-
ing to the valley ; to the left are some Roman substructures; halfway
down, near some cypresses, a path descends to the right to a Plat-
form of masonry, immediately above the new fall. — We now
return to the cypresses and then descend the path, at first in zigzags
and afterwards in steps. We descend to the lowest point to which it
leads, finally by a flight of stone steps, wet with spray, to the fan-
tastically - shaped Sirens' Grotty — From the grotto we return to

424 Environs of Rome. TTVOLT. 3. fdbine Mts.

the point where the paths cross, and ascend the path on the other
side of the -valley to a Gallery hewn in the rock, the apertures of
which we observe some time before reaching it. At the end of the
gallery the path again divides ; the branch to the left leads across an
iron bridge to the Grotto of Neptune, formerly the channel of the
main branch of the Anio. The new works drew off the greater part
of the water from this channel, but the fall is still very fine.

We now return to the gallery and follow the path to the left,
ascending in zigzags to the above-mentioned exit near the temples,
which is opened on week-days for a few soldi.

The now neglected *Villa d'Estb, to the W. of the town, one
of the finest of the Renaissance period, was laid out by Pirro Ligorio
in 1549 tor Card. Ippolito d'Este, and belongs now to ATchduke
Francis Ferdinand of Austria-Este. The entrance is in the Piazza
San Francesco (adm. 50 c). In the casino are frescoes by Fed.
Zuccaro and Muziano (damaged). The garden contains terraces,
grottoes with cascades, densely-shaded avenues, magnificent groups
of cypresses, and charming points of view.

We may either take the tramway from this point to Hadrian's
Villa (p. 420) or walk thither (3/4 hr.) by the Roman road issuing
from the Porta del Colle, the W. gate of the town. To the right, a
short distance from the town, is the erroneously named Villa of
Maecenas, where ai» iron manufactory and the works for the electric
lighting of the town are now established. On the other side of the
road is an ancient circular building, known as Tempio delta Tosse, or
'temple of the cough', probably a tomb of the Turcia or Tossia fam-
ily. Farther on we pass, on the right, a road leading to the Ponte delV
Acquoria (see below) , and then pass under the tramway-line to the
cross-road leading to the entrance to the Villa Adriana (p. 420).

If time permit a very pleasant detour may be made by the * Via
delle Cascatelle, the road that issues to the left from the Porta Sant'
Angelo (p. 422) and skirts the slopes above the right bank of the
Anio, between fine olive-trees. It affords beautiful views of Tivoli
and its waterfalls, especially from (3/4 M.) the first terrace (marked
Belvedere on the map) and C/2 M- farther) from the terrace beyond
Sant Antonio, whence also are seen the smaller waterfalls below the
town, known as Le Cascatelle.

It is usual to turn here. Visitors who wish to proceed to Hadrian's
Villa continue to follow the same road. About '/« M. farther on, various
ancient ruins, said to be the remains of a villa of Quintilius Varius, are
seen near the small church of Santa Maria di Quintiliolo. A ' Villa of Horace',
although the poet never had one at Tibur, is also pointed out by the
guides. From Santa Maria we cross the meadows between gnarled olive-
trees, and in about 20 min. reach a road descending in a few minutes to
the left to the Ponte delV Acquoria, by which we cross the Anio. On the
left bank we reach in a few min. (to the S.) the road to Hadrian's Villa
(see above).

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3. Sabine Mts. VICOVARO. Environs of Rome. 42;")

the Via delle Cascatelle a little way beyond the Porta Sant' Angelo.
The top, which is marked by a cross, commands a beautiful view of
the Campagna and the valley of the Anio.

From Tivoli to Palestrina via Ponte Lucano and Gallicano, or via San
Gregorio and Poli, see p. 430.

The beautiful Road from Tivoli to Subiaco or Genazzano (about
18>/2 M.; carr. in 31/4-4 hrs.) quits the town by the Porta San Giovanni,
the S.B. gate, and after ascending the valley of the Anio for a short
distance, enters that of the brook Bmpiglione. Beyond the Ponte degli
Arci, by which we cross the brook, near some remains of the Aqua
Claudia (to the left; p. 392), a road diverges on the left to Casta Madama
(see below); and beyond Ciciliano (2030 ft.), a village on the hill to the
left, the road divides. The picturesque carriage-road to the left runs via
Qerano (1645 ft.) to Canlerano (1975 ft.), whence it is prolonged to join the
road from Cineto Romano to Subiaco (p. 426) at a point 3V2 M. from
Subiaco. Our route leads straight on, ascending rapidly, via, Pisoniano
(1785 ft.) to San Vito Romano (2270 ft.), whence we descend once more,
with a fine view of the Volscian Mts. and the valley of the Sacco, to
Qenazzano (p. 430).

From Tivoli to Subiaco.

23 M. Railway (continuation of the line from Rome to Tivoli) to (9M.)
Mandela in about 3/t hr. (fares 2 fr. 10, 1 fr. 50, 95 c), and branch-line
(two trains daily) thence to (14 M.) Subiaco in 54 min. (fares 2 fr. 60,
1 fr. 80, 1 fr. 20 c). — Attractive carriage-route, see above.

The railway-station of Tivoli lies outside the Porta Sant' Angelo
(p. 422). The train follows the right bank of the Anio, to the left
of the road, the ancient Via Valeria, and the Aqua Marcia (p. 392).
Fine view of the green valley to the right. — 2^2 M. San Polo
de Cavalieri; the village (p. 419) lies on the hill, 4!/2 M. to the
left of the station. Two tunnels. — 5 M. Castel Madama ; the con-
spicuous village (1485 ft. ; 3371 inhab.) lies high up on the other
bank of the Anio, 2*/2 M. distant. — "We now pass through another
tunnel and cross to the left bank.

7 M. Vicovaro (1033 ft.). The small town (1986 inhab.) is on
the right bank of the Anio, 3/i M. distant. On the way to it we
pass, on the left, the church of Sanf Antonio, with a portico of
ancient columns. Just below the entrance to the town are some
remains of the walls of Varia, the ancient town now represented by
Vicovaro. The octagonal chapel of San Qiaeomo , known as '11
Tempietto', was built about 1450 by Dom. da Capodistria. The
sculptured portals are by Giov. Dalmata.

Above Vicovaro opens the Valley of the Licenza, the ancient Digentia,
believed to be the spot in which lay the Sabine farm of Horace. The
natural beauty of the valley would alone render it worth a visit, even
apart from its classical associations. From Vicovaro we follow the road
on the right bank of the Anio for i M., then diverge to the left by the
road to Licenza. About IV2 M. farther on, before a bridge, the carnage-
road to Rocca Giovane diverges to the left , crosses a bridge, and then
ascends. Rocca Giovane does not become visible till we are close upon it.

Rocca Giovane (1700 ft.) is a small village charmingly situated on a
precipitous rock. An inscription refers to the restoration of a temple ot
Victoria by Vespasian. According to Varro, Victoria is identical with the
Sabine Vacuna, and consequently Rocca Giovane is supposed to be the

426 Environs of Rome. SUBIACO. 3. Sabine MU.

Fanum Vacunae of Horace (Epist. I. 10). A guide should be obtained to
take us to the chapel of Madonna delta Casa (see below), the Colle del
Poetello (properly II Poggitello), and the Fonte degli Oratini (properly Fonte
dei Ratini). These names are erroneously supposed to refer to the villa of
Horace, which more probably lay in the bottom of the valley nearLicenza.
The ancient remains are insignificant.

From Rocca Giovane we may proceed (with a guide; 1/s fr.) via, the
Madonna della Casa to (1 hr.) Licenza (1568 ft.), which derives its name
from the stream skirting the base of the hill, the ancient Digentia ('me
quotiens reficit gelidus Digentia rivus', Hor. Epist. I. 18, 104). We return
to (6 M.) Vicovaro by road, or at the mill we may cross the brook to the
left, and follow a field-path to (ii/g hr.) Mandela. Descent to the station
>/ii hr. more (see below).

Ascent of Monte Qennaro from Eocca Giovane, see p. 419.

Beyond Vicovaro we traverse a long tunnel, penetrating the
rocky hill on which the convent of San Roceo stands.

83/4 M. Mandela is the junction for the branch-line to SuMaco.
The village (1600 ft.) lies on the hill to the N. It was formerly
known as Cantalupo, but has lately resumed its ancient name
('rugosus frigore pagus', Hor. Epist. I. 18, 105). — Continuation
of the line to Solmona, etc., see Baedeker'1 s Southern Italy

On a steep rock to the S.E., about 2 hrs. from Vicovaro, lies the humble
little hamlet of Saracinesco (2980 ft.), with 655 inhab., commanding a fine
view, extending as far as Rome.

The Bkanch Railway to Subiaco (14 M.) crosses the Anio
after 2^2 M. and follows its valley to the S.E. — 5 M. Anlicoli-
Roviano, two villages lying respectively 2 M. to the S. and 2 M. to
the N. Roviano is also a station on the railway to Solmona. The
valley of the Anio now expands picturesquely. — 8 M. Marano-
Agosta. The former of these villages lies on the left bank, the latter
on the right bank of the Anio, the valley of which again contracts.
From Agosta a bridle-path ascends to the N.E. to Cervara di Roma
(3455 ft.), on a lofty rock. — 11 M. Rocca- Canterano- Canterano-
Cervara. Rocca Canterano (2440 ft.) and Canterano (p. 425) lie on
the hills to the right, the one 4'/2 M. from the railway, the other
2'/2 M. For Cervara, see above. — We are close upon (14 M.) Subiaco
before we see it, charmingly situated amidst wood and rock.

Subiaco. — Hotels. Albeego dell' Aniene, pens. 5 fr. (4l/2 fr. for
a long stay), very fair; La Pebnioe, mediocre, both at the top of the
main street. — Carriage with one horse to Olevano, including halt at the
monasteries, about 8 fr. (bargain desirable).

Subiaco (1340 ft.) is a small town (8003 inhab.) of mediaeval ap-
pearance, commanded by a castle which was formerly often occupied
by the popes. It was the ancient Sublaqueum, situated in the territory
of the jEqui. It sprang up on the grounds of an extensive villa of
Nero, which was embellished by three artificial lakes, the 'Simbruina
stagna' of Tacitus (Ann. 14, 22), which were destroyed by an inun-
dation in 1305, and have given the village its name. On the left
side of the Anio, opposite the monastery of Santa Scolastica, are seen
walls and terraces of the time of Nero, who, according to Tacitus,
narrowly escaped being struck by lightning while dining here. Not

3. Sabine Mts. SUBIACO. Environs of Rome. 427

far from the station, above the left bank of the Anio, near the ceme-
tery, is the convent-church of San Francesco, with an altar-piece by
Antoniazzo Romano (1467) and late 16th cent, frescoes (by So-
doma ?) in the 1st chapel to the right of the high-altar.

The environs are delightful, and the far-famed Monasteries
(closed 12-3 p. m.) are very interesting. Guide unnecessary. The
excursion takes about 3 hrs., and affords a succession of beau-
tiful views. We follow the main street which intersects the town,
upwards of '/2 M- in length, and afterwards ascends the right bank
of the Anio. About 3/4 M. from the last houses of the suburb of
San Martino, before the road crosses the gorge by the lofty Ponte
Rapone, a path supported by masonry ascends to the left, passing
several chapels, and leading to the ('/4 hr.) three —

*Monasteb.ies of Santa Scolastica. The first was founded in
530 by St. Benedict, who retired to this spot, and took up his abode
as a hermit in one of the grottoes, now converted into chapels (11
Sagro Speco). The monastery was afterwards confirmed in its pos-
sessions by Gregory I. and his successors. In the 7th cent, it was
destroyed, in 705 it was rebuilt, and it was subsequently dedicated to
St. Scholastica, sister of St. Benedict. It is now entirely modern. In
1052 a second monastery was erected, and a third was added in
1235 by the Abbot Landus. (If time is limited, the monasteries
should be visited in returning from San Benedetto.)

The First Monastert (entrance to the right in the passage, beyond
the anterior court) formerly had a library containing valuable MSS. In
1465 the Germans Arnold Pannartz and Conrad Schweinheim printed here
the first book published in Italy , an edition of Donatus , which was
followed by Lactantius, Cicero , and Augustine (1467), of which copies
are still preserved here (comp. p. 225).

The Second Monastery, dating from 1052, was afterwards rebuilt in
the pointed style. The court contains a quaint relief and two niediseval
inscriptions.

The Third Monastery, of 1235, has a fine Romanesque arcaded court
with mosaics of the school of the Cosmati (p. lxii) and possesses a few
antiquities (sarcophagus with Bacchic scenes, fine columns, etc.).

The Church of Santa Scolastica, originally founded by Benedict VII. in
975, was completely modernised in the 18th cent., and now contains nothing
worthy of note, excepting some frescoes of 1426 in the chapel of St. Beda
and fine carved choir-stalls.

An ascent of 25 min. from Santa Scolastica brings us to San
Benedetto , or II Sagro Speco , built against the rock , overtopped
by a huge mass of stone, and shaded by oaks.

A corridor with some damaged frescoes of the Umbrian School leads
to the Upper Church, which contains frescoes of scenes from the life of
Christ and from the lives of St. Benedict and St. Scholastica, painted in
the 13th century. An adjoining Chapel contains a remarkable Portrait
of St. Francis of Assist (who visited the convent in 1216), without i he halo
or the stigmata, and therefore probably painted before 1228 (comp. P-'O-
We then descend to the Lower Church, adorned with paintings of the
Madonna, Massacre of the Innocents, Portrait of Pope Innocent 111., etc.,
which were executed in 1219 by the otherwise unknown master Conxolus.
The Sagro Speco, or grotto of St. Benedict, contains the statue of the saint
by a pupil of Bernini The walls are decorated with venerable paintings.

428 Environs of Rot ibine .lft*.

The Gardes of the monastery is well stocked with beautiful rose,'.
They were , according to tradition, originally thorns, cultivated by St.
Benedict for the mortification of the flesh, but converted into roses by
St. Francis when he visited the monastery.

On leaving San Benedetto a visit should be paid to the fine
point of view reached by a footpath on the right near the entrance
gate. Having returned to the highroad after visiting the monasteries,
we may cross the Anio by the Ponte Rapone, and return to the
town by a footpath on the right. — By the highroad , which is
mentioned at p. 431, Olevano is about 10 M. distant.

The narrow road, ascending the picturesque ravine of the Anio from
the Ponte Rapone (p. 427J, passes below (41/? M.) Jenne (2735 ft. ; Loc&nda
Vincenzo de Angelis). Beyond &/i~M.) a bridge a route ascends the valley
of the Anio to the right, to &/i M.) Trevi net Lazio (2693 ft.), the ancient
Treba. To the left the road runs to the N.E., up the valley of the Sim-
brioio, to (10'/2 M.) Vallepietra (2705 ft. ; Osteria Blanilio Urbani), situated
in a mountain valley on the S.E. slope of Monte Autore (6080 ft.), which
miy be ascended direct from Subiaco in 5-6 hrs., with guide (splendid
painrama). About 4'/-> JI. to the N. of Vallepietra, at the foot of a per-
pendicular cliff on the E. slope of Monte Autore, lies the Sanluario delta
Santisiima Trinitd (festival on the San. after Whitsunday).

From Borne to Falestrina.

Railway (Rome and Naples line) to (23 M.) Paletlrina in about 1^4 hr.
(fares 4 fr. 30, 3 fr. 5, 1 fr. 95 c). The express trains do not stop at Pa-
lestrina.

The railway emerges from the city-walls to the left of the Porta
Maggiore. On the right are the arches of the Acqua Felice, which
our line crosses near the Porta Furba (p. 392), afterwards running
beside the imposing arches of the ancient Aqua Claudia (p. 392),
some of which were used bySixtusV for his aqueduct. To the right
are the tombs on the Via Appia. To the left the Sabine and Alban
Mts. ; at the foot of the latter, Frascati (p. 408) is conspicuous. —
At (83/4 M.) Ciampino (pp. 442, 438) lines to Frascati (p. 408),
to Terracina (p. 446), and to Nettuno (p. 438) diverge.

The line, gradually ascending, skirts the slopes of the Alban Mts.
Above, to the right, is Monte Porzio (p. 410). Tunnels. — 16 M. Monte-
Compatri-Colonna. Monte Compatri is a mountain-village (1910 ft.)
about 21/2 M. to the right of the station, on the highroad from Fras-
cati to Falestrina (p. 410); Colonna occupies an isolated eminence
(1 140 ft.) in the plain. Between them lay the ancient town of Labici
or Labicum.

The line now crosses the great depression between the Alban
Mts. and the Sabine Mts., approaching the latter, with fine views of
both ranges and of the Volscian Mts. in the foreground. — 21^2 M\
Zagarolo; the town (5528 inhab.) lies 2 M. to the left of the station.

23 M. Palestrina, with the high-lying Castel San Pietro, is con-
spicuous from a considerable distance. The town is nearly 4 M.
to the N.E. of the station (diligence in about 1 hr., fare 50 c).

Falestrina (1525 ft.; Locanda della Vedova Pastina-Bernardini,
Piazzetta deila Fontana, about 5 fr. per day; Trattoria Armetiino,

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3. Sabine Mts. PALESTKLNA. Environs of Home. 429

Corso Pierluigi 88, with bedrooms, both plain), a town of 7074 in-
hab., with steep and dirty streets, lies most picturesquely on the
hillside. In the middle ages Palestrina was long the object of san-
guinary conflicts between the powerful Colonnas and the popes,
the result of which was the total destruction of the town in 1437.
The territory was purchased in 1630 by the Barberini, who still
own it. — The great composer Giovanni Pierluigi da Palestrina,
who died in 1594 as director of the choir of St. Peter's, was bom
herein 1524.

Palestrina, the Roman Praeneste , one of the most ancient towns in
Italy, was captured by Camillus, B.C. 380, and was thenceforth subject to
Rome. In the civil wars (82 B.C.) it was the chief arsenal of the younger
Marius, and after a long siege was taken and destroyed by Sulla, who after-
wards rebuilt it in a magnificent style as a Roman colony. Under the
emperors it was a summer-resort of the Romans on account of its refreshing
atmosphere, and it is extolled by Horace (Carm. iii, 4, 22) together with
Tibur and Baise. A famous Temple of Fortune and an Oracle ('sortes
Prsenestinee', Cic. Div. ii, 41) attracted numerous visitors. — Excavations
in the necropolis of Prseneste have always yielded a rich harvest; the so-
called cistse, or toilette-caskets (comp. p. 206), were almost all found here.

The town stands almost entirely on the ruins of the temple of
Fortuna, which rose on vast terraces, surrounded by a semicircular
colonnade, and occupied the site of the Palazzo Barberini. On
entering the town we observe the lowest of these terraces , con-
structed of brick. The precise plan of the ancient building cannot
now be ascertained. The arcades with four Corinthian half-columns
in the Piazza Savoia near the cathedral probably belonged to the
second terrace. The Orottini, as the interior of these substructures
is called, may be examined in the Barberini garden (No. 106 Corso),
but more conveniently in autumn than in spring, when they are
often filled with water. — From the Corso we ascend in about
10 min. to the Palazzo Barberini, which rests almost entirely on
these ancient substructures and deserves a visit (fee '/2-l fr.).

It contains a large Mosaic, probably executed in the reign of Domitian,
representing scenes from the Nile, with numerous animals and figures in
Egyptian and Greek costume.

The ancient Walls of Palestrina, of which various fragments
are visible , exhibit four different systems of building , from the
Cyclopean mode of heaping huge blocks of stone together, to the
brick-masonry of the empire. Two walls, of which that to the N.,
the best preserved, is reached via the Porta San Francesco, while
that to the S. may be well seen from the Porta delle Monache Far-
nesiane, connect the town with the citadel (Arx) on the summit of
the hill, now Castel San Pietro, consisting of a few poor houses. A
carriage-road and a direct bridle-path ascend from the Palazzo Bar-
berini in V2nr-i f°r "which, however, the noble prospect from the
summit (2485 ft.) amply compensates. The vast Campagna, from
which the dome of St. Peter's rises, is surveyed as far as the sea;
to the right rise Soracte and the Sabine Mts., then the Alban range ;
to the left is the valley of the^Sacco, bounded by the Volscian Mts.

430 Environs of Rome. GENAZZANO. 3. Sabine MU.

The picturesque, half- dilapidated Fortezza was erected by the
Colonnas in 1332. The door is opened on application (}/z-i fr.) •
the approach is uncomfortable, but the view from the interior is
particularly fine.

The distance from Palestrina to Tivoli by the highroad via Oal-
licano, Passerano (p. 390), and Ponte Lucano (p. 419) is about 15 M.
— A pleasant expedition for a whole day (on foot or with donkey
and driver) leads over the mountains to Tivoli. Following the
above-mentioned carriage - road , which leads to the N. past the
castel, for about l1/* M., we then turn to the left and ascend by
fatiguing footpaths to (5i/2 M.) Poli (1427 ft.) and (71/2 M.) Casape
(1558 ft.). Hence another carriage-road leads to (9 M.) San Gre-
gorio da Sassola (1476 ft.) and (I71/2 M.) Tivoli (p. 422).

From Palestrina to Subiaco via Olevano.

From Palestrina to Olevano, about 11 M., diligence thrice a week
(Sun., Tues., & Thurs. ; returning Mon., Wed., & Frid ) in 2>/2 hrs., fare
2'/2 fr. ; one-horse carriage 13, two-horse 18-20 fr. Walkers require 4 hrs.
— A diligences plies twice daily from the station of Valmontone (p. 441)
to (12 M.) Olevano in 2]/2 (returning in 2) hrs., fare 1 fr. 40c. Palestrina
and Genazzano are not on the route of these vehicles. — From Olevano
to Subiaco, about 10 M.

The road, which is a continuation of that from Rome, passes below
Palestrina and runs towards the E. ; it is interesting also for pedes-
trians. To the left, and before us, rise the Sabine Mts., to the right
the Volscian, and behind us the Alban Mts. Beyond a seven-arched
bridge across the Fiumicino di Cave we reach ^/aM.) Cave (1280 ft.),
a village belonging to the Colonnas, and then the church of the
Madonna del Campo. Paliano (see below) on its lofty rock soon ap-
pears in the distance. About 2 M. beyond the church the high-
road bends to the left, but the carriage-road straight on is shorter.
A road to Genazzano soon diverges to the left from the highroad.

Genazzano (1225 ft.), a pleasant little town with 4160 inhab., is famed
for its pilgrimage-chapel of the Madonna del Buon Consiglio, which attracts
crowds of devotees on festivals of the Virgin. — We may either return to
the highroad, or proceed through the valley direct to Olevano by a pictur-
esque, but rugged route.

From Genazzano to Tivoli via San Vito and Pisoniano, see p. 425.

About y2 M. from the village, beside an osteria, the highroad
rejoins the shorter route. Farther on it crosses two bridges, beyond
the second of which, the Ponte a" Orsino, it divides; the branch to
the left leads to (4*/2 M.) Olevano, that to the right to the little town
of Paliano (1560 ft. ; 5855 inhab.). The former road at first grad-
ually ascends, and then describes a long curve, causing Olevano to
appear much nearer than it really is.

Olevano* — Hotels. Roma, outside the town, E. l'/j, D. incl. wine
3'/2, pens. 5, for a long stay 41/2 fr., well spoken of; Casa Baldi, an old-
established artists' respj '., l iifcj h iy omiU ita jiew (see below), has now
nothing to recommeD^ it, above the' town. '

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3. Sabine Mts. OLEVANO. Environs of Rome. 431

Oltvano (1875 ft.) , officially called Olevano Romano , with
4573 inhab., is a mediaeval place belonging to the Borghese, with
traces of an ancient wall, and lies most picturesquely on the slope
of a hill, commanded by the ruins of an ancient castle. The interior
of the town, with its narrow and dirty streets, presents no attraction.
The top of the hill commanding the town, near the Casa Baldi,
affords a splendid *View, especially fine towards evening. To the
right are visible the barren summits of the Sabine Mts., with Bellegra,
San Vito, Capranica, and Rocca di Cave; then the narrow plain,
bounded by the Alban and Volsican Mts. In the distance lies
Velletri. Nearer is Valmontone with its chateau ; then Rocca Mas-
sima, Segni, and Paliano. Towards the S. stretches the valley of
the Sacco, until lost to view. The town with its ruined castle
forms a charming foreground.

On the left of the road to Bellegra and Subiaco (see below), V/t M.
to the N. of Olevano, is the Serpentara, a fine grove of oaks, saved from
destruction by the subscriptions of artists for that purpose and now the
property of the German empire. Many artists have painted here.

Fuom Olevano to Stjbiaco (p. 426) three beautiful routes.

1. The highroad, which passes below the Serpentara (see
above), is the shortest and most convenient (on foot 3% hrs., by

carr. 2-2*/2 nrs- ! n0 inn)- After about ^ min- a road dlverSes t0
the left to Bellegra (see below). Less than lj2 hr. farther on a road
branches off on the right to Rojate (see below) and 1 1/2 nr- farther on
another to Affile (see below). Beyond the (40 min. more) Ponte Ra-
pone (p. 427) over the Anio, 10 min. before Subiaco is reached, a
path to the right diverges to the monasteries (p. 427).

2. The route via Bellegra and Rocca Santo Stefano, the most
beautiful (41/2-5 hrs.), must, like the following, be traversed on foot,
or on the back of a donkey (3 fr., and as much more to the attend-
ant). By the above-mentioned road we reach in II/4 hr- Bellegra
(formerly named Civitella), a poor village lying on an isolated peak
(2675 ft.) in a barren, mountainous district. On the W. side of the
village are considerable remains of the very ancient wall, con-
structed of rough-hewn blocks. The road then leads by San Fran-
cesco in 1-1 1/4 hr. to Rocca Santo Stefano, where it comes to an
end. A picturesque but fatiguing bridle-path (guide necessary),
recommended only to good walkers, goes on thence to (2 hrs.)
Subiaco. It first descends steeply into a lateral valley and then
crosses a ridge (view)" into the valley of the Anio.

3. The third-route (5-J3 hrs., guide necessary), the longest, and
in some respects the most fatiguing , but also highly interesting,
leads via Rojate and Affile. Rojate is a small village. Affile
(2245 ft.), a place of more importance, boasts of a few relics of an-
cient walls and inscriptions from the ancient Afilae. A road descends
from Affile to join the road from Anticoli, which farther on 30ms
in its turn the highroad (see above) to Subiaco.

432

4. Etruscan Towns.

That part of the Roman Campagna which extends to the N. from the Tiber
to the Ciminian Forest and the mountains ofTolfa was the Southern Etruria
of antiquity. It is composed of volcanic tufa and is furrowed by deep
ravines. Originally occupied by a tribe akin to the Latins, then conquered
by the Etruscans , it was finally, after the protracted contests with which
the first centuries of the annals of Rome abound , reconquered and Lati-
nised. The fall of the mighty Veii, B.C. 396, mainly contributed to effect
this memorable change. Excursions are frequently made to the remains of
the Etruscan tombs at Cerveteri and Veii. Malaria is unfortunately very
prevalent throughout this whole district. Corneto (p. 6), Galera, Bracciano,
etc., may be reached by the Viterbo railway (pp. 105-101).

Veii.

An excursion to Veii takes one day. Provisions should be brought, as
no good inns are passed. The site of Veii is picturesque and interesting,
but the ruins are scanty.

Railway from Rome (Trastevere) to (12 M.) La Storta-Formello
(p. 104) in 72-1 hr. (fares 2 fr. 25, 1 fr. 55 c, 1 fr., return-tickets
3 fr. 35, 2 fr. 35, 1 fr. 50 c). — From the road leading to Bracciano
(p. 103) a footpath diverges on the right, immediately beyond the
old posting-station of La Storta, and brings us in 72 ur- t0 the
humble hamlet of Isola Farnese. The carriage-road is 3/4 M. longer.
About 72 M. beyond La Storta the Via Clodia diverges to the left to
Bracciano (p. 103). We remain, however, on the Via Cassia, to the
right (leading to Sutri, p. 102). About 500 yds. farther on we take
the turning to the right to Isola. At Isola we engage a guide (4fr.,
bargaining necessary).

Veii was one of the most powerful of the Etruscan cities. After
contests protracted for centuries (comp. p. 388), and after manifold
vicissitudes and a long siege, the city was taken by Camillus in
B.C. 396. After its capture it fell to decay, and was repeopled by
Caesar with Romans ; but this colony scarcely occupied one-third of
the former area.

The ancient site of the city had a circumference of 3-372 M. and
forms a triangle between two brooks, which unite with each other
farther down : viz. the Fosso dell' Isola, washing the N.E. base of the
hill of Isola , and the Fosso di Formello or Marrana di Valcfietta
(the ancient Cremera), flowing from N. to S. The ancient citadel
(Arx), now the Piazza d'Armi or Cittadella, occupies a separate pla-
teau at the confluence of the brooks, connected with the site of the
(own by a narrow isthmus only.

A visit to the principal points takes 2-3 hrs. We descend from
Isola to the N.W. to the Fosso dell' Isola , which forms a pretty
waterfall beside the mill (molino). — Thence we proceed to the
Ponte Sodo , a tunnel hewn in the rock , through which flows the
Fosso di Formello. Then to the Orotta Campana, a rock-tomb dis-
covered in 1843, with two interior chambers, the wall-paintings in
which date from a high antiquity. Tho skeletons which were found

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4. Etruscan Towns. CERVETERI. Environs of Rome. 433

on the benches when the tomb was opened rapidly crumbled into
dust on the admission of air. A few remains of armour and terra-
cotta vessels are still extant. — "We now recross the Fosso di For-
mello to the Porta Spezieria (drug-shop), with remains of a colum-
barium , the recesses of which explain the name. On the hill
above are some singularly well-preserved remains of the fortifi-
cations , a gate , and a street paved with lava. — "We may either
follow the hill or the valley of the Fosso di Formello to the S. to the
above-mentioned Piazza d'Armi, which commands a fine view. To
the N. is the conspicuous Tumulus of Vaccareccia , crowned with
battlements. — We return from the piazza to Isola, in the rocks
near the entrance to which are numerous sepulchral niches.

Walkers may descend the valley of the Cremera from the Piazza
d'Armi and in about 2 hrs. strike the Via Flaminia (p. 383) , about 6 M.
from Rome. The supposed site of the camp of the Fabii, whose whole
family was destroyed by theVeientines, is about l'/j M. from the Piazza
d'Armi.

CiMKR.

Cerveteri, the ancient Caere, may be visited from Rome in one day.
The first train should be taken as far as Palo (p. 9; express in 1 hr., fares
6 fr. 15, 1 fr. 30 c. ; slow train in about l'/4 hr., 5 fr. 60, 3 fr. 90, 2 fr.
55 c); thence drive (diligence in 50 min.) or walk (in l1^ hr.) to (5 M.)
Cerveteri, where a stay of 5 hrs. may be made, leaving time to regain Rome
by the afternoon train.

It is necessary to inform the Sindaco of Cerveteri of the intended visit
a day or two beforehand, as otherwise the custodian with the key may
not be forthcoming. After two or three days of rain the graves are filled
with water.

Cerveteri (265 ft. ; Cafe-Restaurant, in the Piazza ; the land-
lord provides guides and carriages to the tombs), the Caere of anti-
quity, originally named Agylla (Phoenician, 'circular city'), a place
of very remote origin, afterwards became subject to the Etruscans,
and carried on an extensive commerce from its harbours Pyrgi (Santa
Severa) and Alsium (Palo, p. 9). At the same time it always
maintained friendly relations with Rome, and in B.C. 351 it was
incorporated with the Roman state. It was a prosperous place in the
reign of Trajan, and continued to flourish down to the 13th cent.,
at the beginning of which it was abandoned by its inhabitants, who
founded Cere Nuovo, 3 M. distant, the present Ceri. A number of
them , at an uncertain date, afterwards returned to Caere "Vetere,
whence the name Cerveteri. The present town (1272 inhab.), be-
longing to the Ruspoli, occupies but a small part of the site of the
ancient city, which was 3 M. in circumference. Numerous tombs
have been discovered here since 1829. In the middle ages CeTveteri
was surrounded with a battlemented wall, and had, as now, only
one entrance. Part of the walls and several towers are still well
preserved and give a picturesque air to the town, especially on the
N.E. side, where the old baronial chateau is situated.

The only point of interest for the tourist is the Necropolis,
which may bi e (see above; 1 pers.

Baedeker. 28

434

F.nrirons of Rome. CERVETERI. i. Etruscan Towns.

2 fr., 2 pers. 3 fr., a party in proportion). Some of the tombs are
clustered together and hewn in the rock, while others stand alone
in conical mounds or tumuli. They are not nearly so well preserved
as those of Corneto (p. 6), and only faint traces of painting remain.
Most of them lie on the hill opposite the town, and separated from
it by a gorge. The more important tombs are Nos. 5, 6, and 7.

1. Geotta delle Sedie e Scudi, so called from two seats and several
shields hewn in the rock, consists of an anteroom and five chambers.

2. Geotta del Teiclinio, with faded paintings representing a banquet.

3. Geotta della Bella Akchitettura, with two chambers, supported by
pillars. 4. Geotta delle Uene, with three marble sarcophagi. 5. Geotta
delle Isckizioni, or de' Taequinii, with two chambers, borne by pillars,
contains numerous Etruscan inscriptions with the name of Tarchncts, which
appears in Latin inscriptions found in the same tomb as Tarquitius (not
Tarquinius), thus throwing no light on the origin of the Roman kings.
13. Geotta dei Bassokilievi, excavated in 1850, the best preserved and
most interesting of all. At the head of the flight of steps are two lionesses
as guardians of the tomb. The two pillars supporting the roof, and the
walls above the niches are decorated with various bas-reliefs of instru-
ments , weapons , and objects of domestic life, partly in stucco, partly
hewn in the tufa-rock, and mostly painted.

On the road to Palo lies: 7. Geotta Regulini-Galassi , opened in
1829, a tomb of great antiquity and now very dilapidated. The roof is
vaulted by means of the gradual approach of the lateral walls to each
other, instead of on the arch-principle. The yield of this tomb , now in
the Gregorian Museum (pp. 361-364), was very considerable, consisting of a
bed, a four-wheeled chariot, shields, tripods, vessels of bronze, an iron altar,
terracotta figures, silver goblets, and golden trinkets once worn by the de-
ceased, all found in the small chambers to the right and left of the vaulted
passage. — Fully 1/2 M. from this is situated another tomb, opened in 1850,
and still containing the vases , vessels, and other objects then discovered.

Besides these, there are many other tombs (e.g. Grotta Torlonia, the
first chamber of which contains 54 recesses for the dead).

5 . The Sea Coast of Latium.

Communication with the sea was of far greater importance to ancient
than to modern Rome, and its former facility was one of the chief factors
in the attainment of the proud rank held by the mistress of the world.
Vast harbours and other structures were accordingly founded at the estuary
of the Tiber. The coast was a favourite resort of the wealthy Romans, as
the numerous villas testify; but the deposits of mud and sand left by the
Tiber, especially when in flood, have thrown forward the coast line and
entirely altered its appearance. It is now desolate, and is skirted by a
broad belt of forest (macchia), where the malaria in summer is endemic.
Lofty sand-hills, extending to the S. beyond the Pontine Marshes, bound
the whole coast.

PoilTO. P^IUMICINO. OSTIA.

Feom Rome to Fiumioino, 2i M., railway in about l'/2 hr. (3 fr. 95,

2 fr. 80, 1 fr. 80 c. ; there and back, including a bathe in the sea, 4 fr. 80,

3 fr. 75 c). Express trains do not stop at Ponte Galera. — The excursion
from Fiumicino to Ostia and Castel Fusano takes about 6 hrs. there and
back, on foot. By carriage it is most conveniently made direct from Rome
(one-horse carr. 20-25, two horse 30-40 fr., and driver's fee). This is also a
good cycling excursion (comp. p. 139); the Via Ostiensis (p. 433) gradually
descends (except for the Decima Hills) almost all the way from Rome to
(13 M.) Ostia. Luncheon should be brought, and the beautiful cella of
the temple at Ostia or the woods at Castel Fusano may be chosen as a
resting-place. There is no inn at Castel Fusano.

5. Sea Coast or l^atium. fOUTO. Environs of Rome. 4d5

The railway describes a circuit round the town (p. 9). 5^2 M.
Roma San Paolo (p. 9), the junction for the line from Trastevere
(p. 105). — 9!/2 M. Magliana. Close to the station, on the hill to
the right, is the Vigna Cecearelli, the site of the sacred Grove of the
Arvales, a brotherhood ('fraties Arvales') of very ancient Latin origin,
founded, according to tradition, by the sons of Acca Larentia, the
foster-mother of Romulus.

The ancient foundations on which the Casino of the vigna rests are
said to belong to the circular temple of the Dea Dia, which lay in the
middle of the grove. Fragments of the records of the society during the
imperial period, engraved on stone, have been discovered (p. 171). In the
plain below the grove (on the other side of the road) there are remains of
a rectangular building, with a hall enclosed by rows of columns. — Higher
up the hill lay an ancient Christian burial-place, where remains of an
oratory of Pope Damasus I. have been discovered. Adjacent is the entrance
(closed) to the small Catacombs of St. Generosa, which are interesting for
their primitive construction and excellent preservation.

About '/s M. farther on, to the left of the railway, is situated the
ruinous hunting -chateau of La Magliana, with pleasing Renaissance
details, once a favourite retreat of Innocent VIII., Julius II., and Leo X.,
and now the property of the convent of Santa Cecilia (frescoes in the Pa-
lazzo dei Conservatori, p. 244).

14 M. Route, Galera, see p. 9. Carriages are changed here. The
branch-line to Fiumicino continues to run westwards.

18y2 M. Porto was founded in A.D. 103 by the Emp. Trajan
(Portus Trajani), as the harbour constructed by Claudius as a sub-
stitute for that of Ostia (see below), which had become choked up by
the deposits of the Tiber, had soon shared the same fate. Trajan also
formed a new canal here (Fossa Trajani), which now forms the
main arm of the Tiber. Trajan's seaport , which soon attracted the
commerce of Rome, lay close to the sea, but it is now 2 M. distant
from it ; and the delta formed by the river is estimated to advance
13 ft. annually. The present village consists of the Cathedral of Santa
Rufina (a modernised edifice of the 10th cent.), an Episcopal Palace,
with inscriptions and antiquities , and a Villa of Prince Torlonia.
The harbour of Trajan is now a shallow lake. In the meadows to the
N. of it, the extent of the harbour of Claudius is still traceable.

21 M. Fiumicino (Locanda dei Cacciatori) is a modern place.
The castle (Torre Clementina), erected in 1773 close to the sea, is
now l/-2 M. distant from it. The tower commands a fine view. — In
the height of summer the train goes on hence to the Stabilimento
Bagni, or sea-bathing establishment, y2 M- farther on.

The Isola Sacra, situated between the two arms of the river,
was so named at a very early period, either from having been the
site of a heathen temple, or from having been presented by Con-
stantine to the Church. Before reaching Fiumicino we cross a
bridge-of-boats and follow the road to (ca. 1 hr.) the main arm of
the Tiber, opposite the Torre Boacciana, an ancient watch-tower,
to which we cross by ferry {scafa; 15 c). This tower approximately
marks the position of the ancient Tiber mouth.

28*

436 Environs of Rome. OSTIA. 5. Sea Coast of Latium.

The Ostia ('river-mouth') of antiquity, founded by Ancus Mar-
tius, extended eastwards along the Tiber, from the Tone Boacciana.
It was a large commercial town, and near the tower are considerable
remains of structures belonging to its harbour (known as the Em-
porium). Though undeT Augustus Ostia lost tome of its importance
through the choking up of the harbour by the Tiber, it still main-
tained an influential position. The inhabitants belonged to numerous
nationalities and various religions; Christianity also was introduced
here at an early period. The bishopric of Ostia, according to some
accounts , was founded by the Apostles themselves , and is still
regarded with great veneration by the Romish clergy. Monica, the
mother of St. Augustine, died here.

ROVINI 01 OSTIA

l: 55,560

The modern hamlet of Ostia (poor Osteria near the castle) is
reached in 1/2 hr. from the landing-place by the Via di TorBoacciana,
a narrow road leading to the right and then round the tower. This
humble village was founded by Gregory IV. in 830, several cen-
turies after the destruction of the ancient town. Under Leo IV.
(847-856) the Saracens sustained a signal defeat here, which Ra-
phael has represented in the Stanze. Julius II. (1503-13), when
Cardinal della Rovere, caused the Castello to be erected by Baccio
Pontelli and Oiul. da Sangallo in 1483-86, and commissioned
Peruzzi to adorn it with frescoes, of which no trace now remains.
Various inscriptions and sculptures found on the spot may be seen
inside. The tower commands an extensive view. The town lost its
importance when Paul V. re-opened the right arm of the Tiber at
Porto in 1612. The pleasing church of Sant' Aurea, from plans by
Baccio Pontelli (or Meo del Caprino?), was erected under Julius II.

5, Sea Coast of Latium. OSTIA. EnvironsofRome. 4o7

A visit to the *Ruins of the Ancient City requires at least 2hrs.;
the custodian (2-3 fr.) is generally to be found at the Casino del
Sale (see below}. On leaving modern Ostia we pass a series of antique
Tombs, and reach the ancient Porta Eomana of the city in 8 minutes.
Most of the antiquities found in the tombs are now in the Lateran
(p. 308). Where the road forks, we turn to the right and reach first the
New Thermae, a small edifice with well-preservedbasin and numerous
remains of its marb.'e decorations, excavated in 1891. — To the W.
lies the Barrack of tie Firemen (Vigiles), which the custodian
opens. This is a colonnaded court, on one side of which is a chap-
el with pedestals for imperial statues and a well-preserved black
and white mosaic of a sacrificial scene. Several other honorary ped-
estals erected by the vigiles (to emperors of the 2nd and 3rd cent.)
stand in the court. The other rooms seem to have served astheguard-
room and dwelling rooms. Various figures and inscriptions are
snatched on the walls. — Farther on is the Forum, excavated in
1880-81, a square structure, each side of which was 265 ft. long,
and which was surrounded with colonnades. The porticus on the
S. had marble columns, the others brick columns encased in stucco.
At a later period the colonnades were divided into a series of
small chambers (best seen at the S.E. corner), which served as the
offices of various Collegia or guilds, such as the raftsmen who con-
veyed timber to Rome and the boatmen of Terracina. In the centre
of the forum is the substructure of a Templum 'in antis', 80 ft. long
and 35 ft. wide. The walls are in a very ruinous condition and have
been almost entirely stripped of their marble lining, while the altar
has experienced a similar fate. Adjoining the S. colonnade of the
forum is the rear-wall of the Theatre, of which considerable remains
of both stage and auditorium are extant. This edifice, built in the
early imperial period, perhaps by M. Agrippa, was restored by Sep-
timius Severus in 196-197, and again, in a very imperfect and hasty
manner, in the 4th or 5th century. Numerous marble pedestals with
inscriptions, brought from the forum, were used in the last restora-
tion, but have again been taken out. — Leading from the S.W. corr.er
of the Forum is an ancient street, immediately to the right in which
are the foundations of three small Temples, all exactly alike. In one
of these the altar is still extant with the inscription Veneri sacrum.
Behind is a well-preserved Shrine of Mithras (opened by the custod-
ian), with stone benches for the worshippers ; upon it is a mosaic
with figures of the gods of the seven planets, etc. — We then follow
a street between private buildings and turn to the left to the modern
Casino del Sale. Hence a well-preserved and fine ancient street (20-
23 ft. wide), with rows of pillars on each side, leads to a handsome
and conspicuous Temple, the only edifice of ancient Ostia that re-
mained unburied throughout the middle ages. The cella, of admir-
able masonry, is well preserved. The vaulted substructures con-
tain the receptacles for the sacred vessels (favissae).

4do Environs of Rome. ARDEA. 5. Sea Coast of Latium.

Farther to the S. (lOmin.) is the shrine of the Magna Mater, an
irregular quadrangular structure with a colonnade on each side,
where the statue of Attis mentioned at p. 308 was found. A little
farther to the S. is the ancient road to Laurentum, where a number
of graves and columbaria (p. 293) were discovered in 1865.

We return to the Casino del Sale and skirt the river through
the ruins of ancient Magazines, some of the walls of which project
into the stream, proving that its course has altered since antiquity.
Here we observe a Store Chamber, with thirty earthen jars for wine, oil,
and grain, imbedded in the floor. — A few min. to the left is the
entrance to a sumptuous Private Mansion (groundlessly named Pal-
azzo Imperiale), with columns of cipollino. Within were extensive
Thermae, fine mosaics (now in the Vatican), and a small Mithraeum.

The return from Ostia to Rome may be made direct by the highroad,
the ancient Via Osliensis (13 M. ; diligence in2i/2brs., fare 1 fr. 50 c). The
road is carried by an embankment across the former Stagno di Ostia, a
marsh that has been drained and brought under cultivation (Bonlfiche di
Ostia). Salt has been yielded here ever since the period of the kings.
It then runs through a growth of underwood (Macchia di Ostia) and crosses
the hills of Decima to the (5*/i M.) Osteria di Malafede, where a road
diverges to the right to Tor Paterno (see below). Thence it continues
not far from the Tiber, passing the Osteria di Mezzavia and the Osteria Tordi
Valle, to the Osteria del Ponlicello, where it joins the Via Laurentina. Con-
tinuation of the road to Rome, see pp. 399-397.

A road devoid of shade, turning to the right on the N.E. side of
the village, leads from Ostia to (l3/4 M.) Castel Fusano, in the midst
of a beautiful pine-forest. The castle was erected by the Marchese
Sacchetti in the 16th cent., and fortified against pirates, and is now
the property of the Chigi, who leased it in 1888 to the royal family
(adm. on Sun. & Thurs., with permesso as for theQuirinal, pp.150,
151). A pleasant road, with an ancient pavement of basalt, leads hence
to the sea, l1^^. distant.

From Castel Fusano to Tor Paterno, a farm near the ancient Laurentum,
6 M. Thence we may follow the road via (5 M.) Castel Porziano, a royal
hunting-lodge on the site of the ancient Vims Augustanus, to (4i/j M.) the
Osteria di Malafede (see above), or walk, with guide, to (4'/2 M-) Pralica
(290 ft.), an insignificant village on the site of the ancient Lavinium.

About 6 M. from Pratica and 11 31. from Albano lies Ardea (121 ft.), the
ancient capital of the Eutuli, one of the few towns of Latium which even in
the time of the Roman emperors were avoided on account of the malaria.
Early deserted for this reason, Ardea has preserved, especially in its forti-
fications, a more antique appearance than any other Latin town. The
modern village occupies the site of the old citadel, on a hill with arti-
ficially precipitous sides. There are remains of massive walls of different
periods at various places ; on the E. are two ramparts with trenches, several
hundred yards long, like the rampart of Servius at Rome.

Anzio. Nettuno.
Railway to (37 M.) Anzio in l3/4-2 hrs. (fares 6fr. 85, 4fr.80,
3 fr. 10 c, return 10 fr. 10, 7 fr. 10, 4 fr. 55 c.) Stations: 8% M.
Ciampino (p. 428); 18 M. Cerchina (p. 411); 26 M. Carroceto ;
37 M. Anzio; 39 M. Nettuno.

5.SeaCoastofLatium. ANZIO. Environs of Rome. 439

Anzio. — Hotel (comp. p. xvii): Grand Hotel, near the station,
R. from 3fr., B. 60c, dej. 2V2, D. 4, pens, from 9 fr. — Several Trattorie. —
Private Apartments in the season at many of the villas.

Carriage with one horse to Nettuno for 1-3 pers. about 1 fr., single
place 25 c. — Omnibus 25 c.

Boats in the harbour, 1-3 pers. 1>/2fr. per hr., each additional person
l/2 fr. more.

The little fishing-town of Anzio, a favourite resort of the Ro-
mans during the bathing-season (June, July, and August), in spite
of its liability to fever, occupies the site of the ancient Antium.
Pop. 3449.

Antium, the capital of the Volsci, and a prosperous seaport at an
early period, the place where Coriolanus sought refuge when banished
from Rome in B. C. 490 and where he died after sparing Eome at the inter-
cession of his mother, was compelled in 468 to succumb to the Romans.
In 338, when all the Latins were conquered, Antium received a Roman
colony, and was thus permanently united with Rome. Extensive villas
were erected here towards the end of the republic. Cicero possessed an

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estate at Antium, the tranquillity and charms of which he highly extols
(Att. iv. 8). Caligula and Nero were born here; the latter constructed an
artificial harbour (see below). Though at a later period Antium seems to
have been surpassed in popularity by Raise and the places on the bay of
Naples, the temple of Fortune, mentioned by Horace (Carm. I. 35), where
oracular responses were given, existed until the latest era of paganism.
The place was entirely deserted in the middle ages, but in the 16th cent.
it began to be rebuilt. The present town dates almost wholly from the
period after the restoration of the harbour by Innocent XII. (1698).

The station lies close to the Piazza, and a few paces from the
small harbour, which, as it opens to the S., is in continual danger
of being sanded up. The remains of an ancient pier may be seen
opposite, in the direction of Nettuno, near the bathing-establishment.
Nero's harbour lay to the W. of the present one; it was about 150 acres
in area and was protected by a jetty of which traces are still visible
above water.

440 Environs of Rome. NETTUNO. 5. Sea Coast of Latium.

Close by the town itself is the Villa Aldobrandini, commanding
pretty views from its neglected grounds ; we reach it by ascending
from the Piazza, crossing the rails in the Via Pietro Aldobrandini,
and then turning to the left. Opposite the entrance is the former
Villa Albani, now the Ospizio Marino (for scrofulous children) and
not open to visitors. Continuing along the Via Pietro Aldobrandini
and ascending the hill straight in front, we come upon (8 min.) the
remains of an antique wall. Fine survey of the town and sea. The
Via della Galleria. a shady avenue, leads from this point round the
back of the Villa Borghese to Nettuno.

Exclusions by Small Boat (comp. p. 439) afford picturesque views
of the beach with its numerous ruins. The promontory upon which the
lighthouse (Faro) stands is pierced by ancient passages ('Grottedi Nerone'),
which lead to a large villa, probably belonging to the emperors. The so-
called Arco Muto, a little to the N.W., has recently been walled up. —
The farther we retreat from the land the freer view do we obtain of the
beautifully-formed Monte Circeo (p. -447).

The Railway fb,om Anzio to Nettuno (see below ; in 6 min. ,
fares 35, 25 c.) follows the highroad (iy2M.). Adjoining the rail-
way signal-box No. 36 is the side-entrance to the —

Villa Borghese (main entrance opposite the Casino), which is
surrounded by fine shady trees. When occupied by the family the
villa can be visited only with a special permesso, to be obtained at
the Pal. Borghese (p. 213) in Rome (at other times, fee 50 c). The
casino is said to occupy the site of the ancient Arx ; and fragments
of columns, capitals, and other remains have been found here at
various points. — Prom the gate of the villa to Nettuno, >/3 M.

Nettuno (Bail. Restaurant; Caffe Nettuno, in the Piazza; Trat-
toria Romana), a small place with 5072 inhab. and a fort built in
1496, depends for its interest on its picturesque situation. It is
said to have been once a settlement of the Saracens. Lodgings are
easily obtained. The native costume of the women is picturesque,
but it is now worn only on holidays.

A coast-road leads to the E. from Nettuno, past an artillery -range
(Poligone d' Artigleria) , to the (7'/j M.) Torre Astura, where there are
numerous remains of Roman villas, and where Cicero also once possessed
a villa. The tower, connected with the mainland by a bridge, belonged to
a castle in which Prince Conradin of Swabia vainly sought refuge with
Jacopo Frangipcmi after the battle of Seurcola in 1268.

6. The Volscian Mountains and the Railway to
Terracina.

The Volscian mountain-range (Monti Lepini), which culminates in the
Semprevisa (oOOO ft.), to the S. of Carpineto, is separated on the E. from
the principal chain of the Apennines by the valley of the Sacco, and on
the N. from the Alban Mts. by a narrow depression ; it extends to the S.
as far as the Bay of Gaeta, and on the W. is bounded by a dreary and in
some places marshy plain adjoining the sea. This district was anciently
the chief seat of the Volsci, but was at an early period subjugated by the
Romans and Latinised. Its towns, picturesquely rising on the slopes, still
bear many traces of the republican epoch of Italy, which add great interest
to the natural attractions of the scenery. This is a typical limestone-range,

6. Volscian Mts. SEGNI. Environs of Rome. 441

consisting of a plateau with steep slopes towards the K.E. and N.W. ; there
is little water on the plateau itself, but there are several copious springs
at its foot. In the valley of the Sacco rise several small volcanic cones.
Segni (see below) or Ninfa and Norma (p. 444) may be included in a
single day's excursion from Rome; but the following plan is recommended
to those who have more time at their disposal. 1st day: take the morning
express to Segni station (see below), thence by diligence to the town, and in
the afternoon go on by rail via Velktri (p. 442) to Cori (p. 443). 2nd day :
Walk with guide or ride (the latter preferable in rainy weather) to Norma
(p. 444) and Ninfa (not advisable in summer; p. 444), or by early train
to A'infa, and thence by footpath to Norma and on by road to the station
of Sermoneta- Norma (p. 444), whence take the train to Terracina (p. 446).
3rd day : In the morning visit Monte Circeo (p. 447 ; Semaforo), and return
to Rome in the afternoon. Those who proceed as far as the summit of
Monte Circeo must pass the night at San Felice.

Fbom Rome to Segni. — 33i/o M. Railway (Rome and Naples
line) in l-13/4hr. (fares 6 fr. 30, 4 fr. 40, 2 fr. 85 c; express
6 fr. 90, 4 fr. 85 c). — From Rome to Palestrina, see p. 428. —
26^2 M.Labico, formerly Lugnano, the recent change of name being
due to an erroneous identification of the place with the ancient Labici
(p. 428). — 28'/2 M. Valmontone (994 ft.) a small town (4913 in-
hab.) with a handsome chateau belonging to the Doria-Pamphili, on
an isolated volcanic cone, is the starting-point of the diligence to Ole-
vano (p. 430). Farther on the line skirts the streamlet Sacco.

331/2 M. Segni (669 ft.) where the line to Velletri (p. 443) joins
our line. Diligences ply from the station to the town (fare 1 fr.) in
connection with all trains.

A diligence also plies from the station via (83/4 M.) Montelanico (1000 ft.;
hence to Norma, see p. 445) in 3l/i hrs (2 fr.), to (13 M.) Carpineto Romano
(1931ft.), a small town (4836 inhab.) with several old Gothic churches, the
birthplace of Leo XIII., who added much to its prosperity. A huge cross
was erected in 1901 on the Monte Caprea (4822 ft.), which towers to the S.
From Carpineto to Norma, see p. 445; to Piperno, see p. 446.

From the station we take about 2 hrs. to reach the town. We
ascend the steep and rugged incline, and then skirt the slopes of
the mountains enclosing the valley of the Sacco ; to the left, on a
solitary hill below us, is the picturesque Gavignano (1294 ft.), the
birthplace of Innocent III. The remains of the old walls of Segni
and the Porta Saracinesca are seen on the height above a lateral
valley to the left. A winding road ascends to the modern town.

Segni (2190 ft. ; Loc. Colaiacomo), the ancient Signia, said to
have been colonised by the Romans under Tarquinius Superbus, lies
on a mountain -slope (rising to a height of 2300 ft.), in a secure
position, with fine views of the valley and the towns of the Hernici.
The present town (6942 inhab.) occupies the lower half of the old site.

Ascending through the streets, we reach above the town the
church of San Pietro, built over the central cella of an ancient
temple, the walls of which consist of rectangular blocks of tufa, with
two courses of polygonal masses of limestone below. A cistern near
the church is also of the Roman epoch. The *Town Wall, con-
structed of polygonal blocks, and I1/* M. in circumference, is to a

442 Environs of Rome. VELLETRI. 0. Volscian Mts.

great extent -well preserved. From San Pietro we follow an easy
path to the summit of the Mil, which is indicated by a cross ; fine
view of the town and the valley of the Sacco. Hence we follow the
wall, passing a small sally-port at the N. angle, to the half-buried
Porta in Lucino. Farther on, on the slope of the N.W. spur, is the
curious Porta Saracinesca, apparently built before the discovery of
the arch-principle, as a substitute for which the lateral walls gradually
approach until they meet at an angle. From this point we may
follow the footpath along the slope, which passes a large washing-
bench and descends to the lower gate.

The station of Segni is 4-5 M. from Anagni. Regarding this and other
towns of the Hernici, and for the continuation of the railway, see Baed-
eker's Southern Italy.

From Rome to Tbreacina. — 76 M. Railway in about 43/4 hrs.
(fares 14 fr. 20, 9 fr. S5, 6 fr. 40 c. ; return-tickets, comp. p. xiv). —
From Rome to (83/4M.) Ciampino, see p. 428. — The railway, run-
ning at first to the S., skirts the W. slopes of the Alban Mts. To
the left, above the town, on the mountain, appears Rocca di Papa
(p. 416), adjoining which on the right is Monte Cavo with the for-
mer monastery. Beyond (IC/2 M.) Frattocchie (p. 396) we cross the
Via Appia Nuova and the ancient Via Appia. To the left, on the
olive-clad hill, appears Castel Gandolfo (p. 412), immediately beyond
which Albano and Ariccia, connected by a long viaduct, are visible
in the distance. — 18 M. Cecchina (Rail. Restaurant) is the junction
for the steam-tramway (left) to Albano (p. 413) and. for the railway
(right) to Nettuno (p. 438). — To the right, rising abruptly from
the sea, is the Monte Circeo (p. 447), and nearer us rise the Vol-
scian Mts. — 20l/2 M. Civith Lavinia (1060 ft.). The insignificant
town lies l1^ M. from the station, on a W. spur of the Alban Mts.
It is the ancient Lanuvium, which was celebrated for its worship of
Juno Sospita. A few remains of her temple were found in 1885.
At the W. end of the town are considerable remains of the ancient
walls, built of massive blocks of peperino, and also the pavement
of a street skirting the walls. In the piazza are a sarcophagus and
several fragments from tombs and villas in the neighbourhood. —
The line intersects several lava-streams.

26 M. Velletri (1155 ft.; Rail. Restaurant; Albergo e Trattoria
del Oallo, good) , the ancient Velltrae , a town of the Volscians,
which became subject to Rome in B. C. 338, was the home of the
Octavian family to which Augustus belonged. The town (18,734
inhab., including suburbs), the seat of the bishop of Ostia, famous
for its wine, lies picturesquely on a spur of the Monte Artemisio,
'/4 M. from the station. The loggia (built by Mart. Lunglii the elder)
of the Palazzo Lancellotti, in the piazza, commands an extensive
view. The cathedral of San Clemmte contains a Madonna painted
by Antoniazzo Romano. In 1883 a column of victory was erected in

6. Volscian Mis. CORI. Environs of Rome. 44b

the new cemetery, where Garibaldi successfully encountered tl e
Neapolitan troops on May 19th, 1849.

Velletri is the starting-point for the ascents of the Monte Artemisio
(2665 ft. ; 2 hrs. with guide) and the Monte Algido or Maschio cVAriano
(2925 ft. ; 3-4 hrs. with guide, or a little less from the station of Ontanese,
see below), the two highest summits rising from the margin of the crateri-
form circular rampart formed by the E. Alban Mts. On the summit of
Monte Algido (extensive view) are the remains of ancient fortifications and
of a mediaeval fort belonging to the Colonnas (Gustello Lariano). From
Monte Artemisio the descent may be made to Nemi.

From Velletri to Segni, 15 M., railway (fares 2 fr. 80, i fr. 93, 1 fr.
30 c). — The line turns to the U.E. and at (5 M.) Ontanese intersects the
depression between the Alban and the Volscian Mts. — 10 M. Arlena; the
village lies lx/t M. to the S., on the slope ot the Volscian Mts. We now
descend the valley of the Sacco to (15 M.) Segni (p. 441).

The railway beyond Velletri traverses a dreary plain. — 33 M.
Oiulianello-Rocca-Massima, the station for the villages of Oiulia-
nello to the right and Rocca Massimo, in the Volscian Mts. to the left.
The line now runs along the W. slope of the Volscian Mts.

36y2 M. Cori. — The Station (5C0 ft.) is about 2'/2 M. below the town
(diligence 50 c). — Albergo dell' Unione, in the Piazza, comparatively
good. — Guide, to save time, Vrl fr- — r^w0 Horses to Norma and Kinfa,
with mounted guide, about 12 fr.

Cori (1300 ft.) is the ancient Cora, which claimed to have been
founded by the Trojan Dardanos or by Coras and was at an early
period a member of the Latin League. Even in antiquity it consisted
of an upper and a lower town. The remains of the ancient walls,
constructed of huge polygonal blocks, are still considerable. During
the empire it still prospered, but its name afterwards fell into obli-
vion. In the early part of the middle ages it seems to have been
wholly deserted, but in the 13th cent, it was rebuilt by the Conti
di Segni and fortified with a wall, the greater part of which is still
extant. Pop. 7118. Tobacco is largely cultivated in the neighbourhood.

From the piazza, on which the road from the station debouches,
the 'Via Pelasga', skirting a portion of the ancient wall, ascends
to the upper town. Following this, we reach first the church of
Sant' Oliva, which is built on ancient foundations and possesses an-
tique columns, quaint ceiling -paintings of the 16th cent., and
two-storied cloisters. Beside the church is a fragment of the ancient
wall in unusually good preservation; farther up are some scantier
remains. Adjoining the church of San Pietro is the portico of a
*Temple (now maintained as a national monument), generally, though
without authority, called the Temple of Hercules, but perhaps de-
dicated to the three Capitoline deities, Jupiter, Juno, and Minerva.
The statue of Minerva which now adorns the fountain in the Palace
of the Senators in Rome (p. 238), and which has been restored as
Roma, is believed to have been found here. The cella of the temple is
incorporated with the church of San Pietro ; but eight Doric columns,
with a frieze of travertine bearing traces of a coating of stucco, are
preserved. The inscription above the door of the cella, recordir

444 Environs of Borne. NINFA. 6. Volscian Mis.

the erection of the edifice by the duumviri, or chief magistrates of
the place, dates from the time of Sulla. Beautiful view hence over
the town towards the sea, and of the plain with the isolated Monte
Circeo (p. 447). Within the church (opened on application; 25 c.)
is an ancient marble altar, used as a font.

We now descend to the Via San Salvatore, where two admirably
executed * Corinthian Columns are still standing. On the architrave
above is part of the ancient inscription, from which it appears that
the columns belonged, in the time of Sulla, to a Temple of Castor
and Pollux. They probably were the two in the centre of the six
columns which seem to have stood in front of the temple. — Still
lower down, in the Vicolo di Pozzo Dorico and the Piazza Pizzi-
tonico, are the remains of the substructures of large cisterns, prov-
ing that even in antiquity Cori depended on the rainfall for its
^ater-supply.

Near the Porta Ninfesina is another large fragment of the earli-
est polygonal wall. Outside the gate is a deep ravine, spanned by
the ancient Ponte della Catena, constructed of triple tiers of tufa
blocks.

Picturesque but steep and difficult paths (guide necessary, 3-4 fr.) lead
along the mountain-slopes from Cori to Norba (see below), in 2J/2-3 hrs.,
whether on foot or on horseback.

38 M. Cisterna di Roma; the village (252 ft. ; diligence only
from Velletri) with a castle of the Caetani, lies 3 M. to the W.,
on a hill rising above the edge of the Pontine Marshes. Cisterna
was called Cisterna Neronis in the middle ages, and is believed to
occupy the site of the ancient Tres Tabernae, where St. Paul met
the friends coming from Rome to welcome him (Acts, 28).

431//2 M. Ninfa, the station for the remains of the mediaeval town
of that name. The ivy-clad *Ruins lie to the W. of the station, on
the road from Velletri to Sezze. They date mainly from the 12th
and 13th cent, and include a palace, a monastery, a church with
faded frescoes, and several streets. The marshy surroundings were
the cause of its abandonment; and in summer the malaria makes
a visit to Ninfa unadvisable, while the crops also render a closer
investigation of the ruins impracticable.

Norma may be reached direct from 1he station of Ninfa in l'/a hr. by
steep footpaths diverging to the left about 200 paces along the Sermoneta road.

45y2 M. Sermoneta-Norma. Sermoneta (844 ft.) a little town
(1151 inhab.) to the S.E., has an ancient castle belonging to the
Caetani, who derive their ducal title from it. Norma (1367 ft. ; pop.
2529 ; Locanda della Fortuna, tolerable) is a small mountain-village,
to which a steep road with many windings ascends, passing the abbey-
church of Valvisciolo (340 ft. ; 13th cent), at the end of the Val
Carella. About 3/4 M. to the N.W. of Norma, on the mountain-path
leading to Cori, are the ruins of Ncrba ('Civita'), which became a
Latin colony, B.C. 492, and was captured and destroyed by the

6. Volsnan Mts. SEZZE. Environs of Rome. 445

troops of Sulla during the civil wars. The -well-preserved wall, in
the polygonal style, was l1^ M. in circumference, and several
towers and a gateway are still traceable; it encloses two hills con-
taining the substructures of temples. Excavations were begun here
in 1902.

Fatiguing mountain-paths lead from Norma to Montelanico (p. 441) in
about i hrs\ ride, and to (8 M.) Carpineto (p. 441) in 4-5 hrs. (horse and
guide about 5fr.).

Farther on the line skirts the Pontine Marshes (Paludi Pon-
tine), which vary in breadth between the mountains and the sea
from 6 to 11 M., and from Nettuno to Terracina are 31 M. in length.
A considerable part of them is now cultivated and they afford exten-
sive pastures, the most marshy spots of which are the resort of the
buffalo. Towards the sea the district is fringed with forest (macchia).
The malaria in summer is a dreadful scourge.

These marshes were anciently a fertile and well-cultivated plain, but
towards the close of the Republic they gradually fell into their present
condition owing to the decline of agriculture. The marshes occupy a de-
pression running parallel with the Apennines, and separated from the
sea by a series of sandhills, and it is the want of fall in the surface of
the soil that is the cause of the evil. Many subterranean springs rise to
the surface here, and the streams and canals are totally inadequate to
carry off the excess of water that descends from the mountains during the
rainy season; its escape is farther impeded by the rank growth of the aquatic
plants. Attempts to drain the marshes were successively made by the
censor Appius Claudius (p. 393) in B. C. 312, by the consul Cornelius Cethegus
152 years later, by Caesar, Augustus, Nerva, Trajan, and finally by Theodoric
the Ostrogoth, all of which were of temporary benefit only. Similar opera-
tions were undertaken by the popes Boniface VIII., Martin V., Sixtus V.,
and Pius VI., the last of whom reconstructed the ancient Via Appia in
the most admirable manner. In 1*99 the Italian government promulgated
a law according to which the landed proprietors are bound to arrange for
the safe escape of the rain that falls in the mountains, to keep the existing
canals clean and open, and to reclaim the district exposed to inundation,
either by the construction of a natural outlet, or by the aid of mechanical
devices. A period of 24 years in allowed for the completion of this work,
and 7,000,000 fr. have been granted to defray the expense.

52 M. Sezze (1046 ft.; Locanda Nazionale, in the piazza, un-
pretending), a town of 10,827 inhab., with the surname Romano, is
the ancient Setia of the Volscians, a Roman colony after 382 B.C.,
and frequently mentioned in the Italian wars up to the time of Sulla.
Under the empire its name was remembered only on account of its
wine, which Augustus preferred even to Falernian. Considerable
remains of its ancient walls have been preserved, built of massive
polygonal blocks. The rough rusticated work here is an unusual
feature in ancient town-walls, which in most cases are carefully
smoothed. A massive substructure in the same style, below the
entrance of the town, is arbitrarily named Tempio di Saturno.

The highroad, visible to the right, leads straight on through the
Pontine plain, following the ancient Via Appia. On this side also
we have the streamlet Vfente, the ancient Vfens. On the left rise
the slopes of Monte Trevi (1655 ft.), crowned by the ruins of a town
destroyed in the 16th cent, by the inhabitants of Sezze.

446 Environs of Rome. PIPERNO. 6. Volscian Mis.

61 M. Piperno (490 ft.; Locanda Serafini, tolerable), a town
with 6736 inhab., was founded early in the middle ages by refugees
from the ancient Volscian town of Privernum, remains of which have
recently been excavated on the road about l1^ M. to the N. The
Cathedral, in the picturesque piazza, was built in 1283 and modern-
ised in the interior in 1782.

Garpineto (p. 441) may be reached in 4-5 hrs. from Piperno by a path over
the mountains. — From Piperno to (18 M.) Frosinone, diligence in 3'/2 hrs.
(fore 3 fr.) on Tues., Thurs., & Sat., starting in the morning; see Baedeker's
Southern Italy.

We obtain a picturesque view on the left of the valley of the
Amaseno, with its heights crowned with ancient castles and villages:
Rocca Gorga, Maenza, Prossedi, and Roccasecca. We then cross the
Amaseno.

64 M. Sonnino (1410 ft. ; 4518 inhab.) was formerly noted for
the picturesque costume of its women and for the audacity of the
brigands.

About 1 M. to the N. of the station of Sonnino lies the Cistercian con-
vent of Fossanova, where St. Thomas Aquinas died in 1274 while on his
way to the Council of Lyons. The convent-church, consecrated in 1208,
with rectangular choir and an octangular tower over the crossing, is one
of the earliest examples of Italian Gothic (restored). The cloisters, chapter-
house, and refectory are also interesting. One of the rooms contains a
relief of St. Thomas Aquinas, by Bernini.

69 M. Frusso. On the slope of Monte Leano (2220 ft.), to the
left, once lay the sacred grove and fountain of Feronia, mentioned
by Horace (Sat. I, 5, 23). The line here joins the ancient "Via Appia.

76 M. Terracina. — Hotels. Albekgo Reale, at the E. end of the
town, with a view of the sea at the back, R., L., <fe A. ll/i fr., very fair;
Locanda Nazionalk, in the piazza, unpretending. — Restaurants. Sirene,
Posta, both clean. — Caffi Cenlrale, in the main street.

Terracina (10,995 inhab.) , situated conspicuously on a rocky
limestone eminence (Hor. Sat. I, 5, 26), the Anxur of the ancient
Volscians and the Tarracina of the Romans, is the seat of an ancient
bishopric, and is the natural frontier-town between Central and
Southern Italy. The high-road intersects the new quarter, constructed
by Pope Pius VI., while the old town is built on the slope of the hill.
Above the latter extend the ruins of the ancient city, crowned by the
remains of the temple of Venus. Adjoining the new quarter on the
S.W., beyond the LineaPia Canal, is a hamlet of primitive and mostly
conical straw-huts, inhabited in winter by peasants from the Abruzzi,
who then work in the fields here.

The Cattedrale San Cesaueo, in the ancient Forum, occupies
the site of a Temple of Roma and Augustus, dedicated by A. jEmilius,
who also caused the forum to be laid with its present well-
preserved pavement. The inscription A. ^Emilius A. F. in largo
letters is distinctly legible upon the travertine slabs. The vest-
ibule of the cathedral rests on ten ancient columns, with recumbent
lions at their bases. On the right is a large granite basin, which,
the inscription records, played a part in the martyrdom of Christians.

0. Volscian Mts. TERRACINA. Environs of Rome. 447

The beautiful fluted columns of the canopy in the interior are an-
tique. The pulpit, with its ancient mosaics, rests on columns with
lions' feet. In the chapter-house is a nuptial chest of carved wood
(10th or 11th cent.). An extensive view is enjoyed from the belfry
(91 steps).

The summit of the promontory (748 ft.) may be attained in
lk-^U nr-i directly from the new town by a steep path to the right
of the new church; but more conveniently from the old town, by
ascending to the right, under the archway adjoining the cathedral.
The latter route is partly by an ancient road passing remains of
tombs and ancient walls, and then to the right by a gap in the wall
encircling the olive-plantations, and through the latter along the
dividing wall. The summit is occupied by the remains of an im-
posing Temple of Venus, 110 ft. long and 65 ft. broad, standing
upon a terrace partly supported by arcades. The cella, which was
decorated with pilasters on the walls and a mosaic pavement, still
contains the pedestal for the sacred statue. Until the excavations
of 1894 the arcades were regarded as the remains of a palace of
Theodoric the Ostrogoth. The magnificent view embraces, towards
the W., the plain as far as the Alban Mts., then the Monte Circeo;
to the S. are the Ponza Islands ; to the E. the plain of Fondi, farther
off the promontory of Gaeta, with the tomb of Munatius Plancus,
and finally the island of Ischia.

At the E. egress of the town is the Taglio di Pisco Montano, an
interesting piece of Roman engineering. The promontory approaches
close to the sea, in consequence of which Appius originally conducted
his road over the hill. At a later period the rocks were removed for
the construction of a new and more spacious road. On the perpendic-
ular wall thus produced the depth is indicated at intervals of 10 Ro-
man feet, beginning from the top ; the lowest mark, a few feet above
the present road, is CXX.

A carriage-road (11 31.; diligence to San Felice once daily in 3 hrs.)
leads along the shore to the Monte Circeo, or Circello (1030 ft.), the
Promonlorium Circaeum of the ancients , the traditional site of the palace
and grove of the enchantress Circe, daughter of the sun, described by Homer.
The promontory is a relic of a now almost wholly sunken spur of the
Apennines which bounded the Pontine Marshes on the W. ; it was at one
time an is'and but has been joined to the mainland by alluvial deposits.
Accommodation of a rustic character may be obtained at San Felice Circeo
(320 ft.), on application at Franc. Milano's Caffi. From San Felice a good
footpath, following the telegraph-wires and passing a little above a fine
piece of ancient Cyclopean nv.isonry, known as the GUtadella Vecchia, leads
to the ancient town of Cercei or Circei, which became a Roman colony in
393 and still existed in Cicero's time, and thence, in 1 hr., to the Semaforo
or signal - station (1225 ft.). The view hence is magnificent: to the S.E.
Ischia, Capri, and Mt. Vesuvius are distinctly visible; to the N.W. the
dome of St. Peter's can be distinguished; to the E. and N.E. we see the
mountains as far as Velletri ; to the S. is the sea, with the Ponza Islands. —
The summit of the mountain (1775 ft.) may be reached from San Felice
in about 2'/2 hrs. (with guide ; I-IV2 fr.), the final ascent being steep and
fatiguing. On the top, which commands an extensive view, are the remains
of a supposed Temple of Circe.

448 Environs of Rome. LAGO DI FONDO. 6. Volscian Mts.

The Mil is strewn with the remains of Roman buildings ; thus, about
halfway up the N. side, under a group of lofty trees, is a low parapet of
Roman workmanship enclosing a well called the Fontana di Mezzo Monte. • —
Rem 'ins of Roman palaces and water-works (including the so-called Piscina
di Lucullo and, farther to the N.E., the Fonte delta Bagnaia) have also been
found at Lago di Paola, a small lake at the N. base of the promontory,
which served as a harbour for the town of Cercei. Cicero and Atticus,
Tiberius and D imitian frequently resorted to this spot. — On the seaward
side of the promontory are several extensive grottoes, some of them acces-
sible only by boat. — Travellers pressed for time can visit the Semaforo
from Terracina and return the same day.

The Lago di Fondo, originally a bay of the sea but now (owing to
alluvial deposits) a mar.-hy lake, situated to the N.E. of Terracina amidst
dense woods and connected with the sea by two channels, may be visited
by boat (about 6 fr.). We enter by the E. channel at the Torre Sant'
Anastasia and emerge by the W. channel at the Torre Canneto. The ancient
name of the lake was Lacus Fundanus or Amyclcmus, from the now vanished
town of Amyclae, said to have been founded on this spot by Laconian
refugees.

From Terracina to Formia and Gaeta, see Baedeker's Southern

Italy.

List

of the most important Artists mentioned in the Handbook, with a
note of the schools to which they belong.

Abbreviations: A. = architect, P. = painter, S. = sculptor; ca. =
circa, about; Bol. = Bolognese, Ferr. = Ferrarese, Flem. = Flemish,
Flor. = Florentine, Fr. = French, Lorn. = Lombard, Rom. = Roman, etc.

The Arabic numerals enclosed within brackets refer to the art-notices
throughout the Handbook, the Roman figures to the Introduction.

Agoracritos, Greek S., pupil of Phi-
dias, ca. 436-424 B.C.

Albani(Albano), Franc, Bol. P., 1578-
1660.

Alberti, Leon Batt., Flor. A., 1404-72.
— (lxiv).

Alcamenes, Greek S., pupil of Phi-
dias, ca. 430-398 B.C.

Alfani, Domenico di Paris, Umbr. P.,
1483- after 1536. — (61).

Algardi, At, Bol.S., A., 1592-1654.

Aliense (Ant. Vassillacchi), Umbr. and
Ven. P., d. 1629.

Allegri, Ant., see Correggio.

Allori, Al., Flor. P., 1535-1607.

— , Crislo/ano (-foro), Flor. P., 1577-
1621.

Alunno, Niccolb, see Foligno.

Amerighi, see Caravaggio, Mich.

Arnmanali, Bart., Flor. A., S., 1511-92.

Angelico da Fiesole, Fra Giov., Flor.
P., 1387-1455.

Anguissola (Anguisciola) , Sofonisba,
Crem. P., 1535-1626.

ApelUs, Greek P., 356-308 B.C. — (li).

Arnolfo di Cambio, see Cambio.

Arpino, il Cavaliere <T (Gius. Cesari),
Rom. P., ca. 1560-1640. — (lxxiii).

Baciccio, see Qaulli.

Balducci, Matteo, Sien. P., 16th cent.

Bandinelli, Baccio, Flor.S., 1493-1560.

Barbarelli, Giorgio, see Giorgione.

Barbieri, see Guercino.

Barili, Ant. (1453-1516) and Giov.
(d. 1529), Sien. wood -carvers. —
(21).

Barna or Berna, Sien. P., d. 1381.

Baroccio, Federigo, Rom. P., imitator
of Correggio, 1528-1612. — (128).

Bartolo, Taddeo di, see Taddeo.

Bartolo di Fredi, see Fredi.

Bartolo, Domenico di, see Domenico.

Bartolomeo delta Porta , Fra, Flor.
P., 1475-1517.

Bassano, Franc, (da Ponte), the Youn-
ger, son of Jacopo, Ven. P., 1548-90.
BaedekeK; Central Italy, 14th Edit.

Bassano, Jacopo (da Ponte), Ven. P.,

1510-92.
Batoni, Pompeo, Rom. P., 1708-87.
Bazzi, Giov. Ant., see Sodoma.
Beccafumi, Domenico, Sien. P., I486-

1551. — (22).
Bellini, Giovanni, Ven. P., 1428-1516.
Benvenuto di Giovanni, Sien. P., d.

1517. — (22).
Berchem (Berghem), Claas Pietersz,

Dutch P., 1620-83.
Beretlini, Pietro, see Corlona.
Bernini, Giov. Lorenzo, Rom. A., S.,

1598-1680. — (lxxiv).
Bigordi, see Ghirlandajo.
Boedas, Greek S., son of Lysippus.

- (li).
Bologna, Giov. da, or Giambologna

(Jean de Boullogne of Douai),Flem.

and Flor. S., 1524-1608.
Boltraffio, Giov. Ant., Mil. P., pupil

of Leonardo, 1467-1516.
Bonfigli, see Buonfigli.
Bonifazio the Elder (dei Pitati), d. 1540,

the Younger, d. 1553, the Youngest,

ca. 1555-79, Ven. P.
Bonvicino, see Moretto.
Bordone, Paris, Ven. P., ca. 1500-1571.
Borgognone, Ambrogio, da Fossano,

Mil. P., floruit 1486-1523.
Borromini, Franc, Rom. A., S., 1599-

1667. — (lxxiii).
Botticelli, Al. or Sandro(Al. Filipepi),

Flor. P., 1446-1510. — (lxiv).
Bramante, Donato , TJmb., Mil., and

Rom. A., 1444-1514. — (lxvi. — Cp.

also the Index, under 'Rome').
Bregno, Andrea, Lorn, and Bom. S.,

1421- 15U6.
Bril, Paul, Flem. P., 1554-1626.
Bronzino, Angelo, Flor. P., 1502-72.
Buonarroti, see Michael Angelo.
Buonfigli (or Bonfigli), Benedetto,

Umbr. P. , ca. 1420 - c. 1496. —

(61).
Buontalenti, Bern., Flor. A., 1536-

1608.

450

LIST OF ARTISTS.

Caliari, Paolo, see Veronese.
Camaino, Tino da, Sien. P., d. 1339.
Cambiaso, Luca, Gen. P., 1527-85.
Cambio, Arnolfo di, Flor. A., S., 1232-

1301.
Campagna, Girolamo, Ven. S., pupil

of Jac. Sansovino, 1552-1623.
Camuccini, Vine, Rom. P., 1773-1844.
Canaletto (Antonio Canale), Ven. P.,

1697-1768.
Canova, Antonio, Ita). S., 1757-1832.
Caprino, Amadeo or Meo del , Rom.

A., 1430-1501. — (lxiv).
Caracci, see Carracci.
Caravaggio, Michelangelo Amerighi da,

Lomb. and Rom. P., 1569-1609. —

(lxxiv).
— , Polidoro Caldara da, Rorn., Neap.,

and Sicil. P., 1495-1543.
Cardi, Luigi, see Cigoli.
Carpi, Girol. da, Ferr. P., 1501-68.
Carracci, Agostino, Bol.P., 1558-1601.
— , Annibale. brother of Agostino,

Bol. P.', 1560-1609. — (lxxiv).
— , Lodovico, Bol. P., 1555-1619.
Carrucci, see Pontormo.
Cavallini, Pielro, Rom. P. and mo-

saicist, 14th cent. — (lxiii).
Cellini, Benvnuto, Flor. S. and gold-
smith, 1500-1572.
Cephisodotus the Elder, Greek S.

(father of Praxiteles). — (xlix).
— , the Younger, Greek S., son of Prax-
iteles. — (xlix).
Cignani, Carlo, Bol. P., 1628-1719.
Cigoli (Luigi Cardi da), Flor. P., 1559-

1613.
Cimabue, Giov., Flor. P., 1240? -after

1302.
Circignani, see Pomarancio.
Ciuffagni, Bernardo di Piero, Flor. S.,

1381-1457.
Claude le Lorrain ( Oellie), French P.,

1600-1682.
Clovio, Don Giulio, P. of miniatures,

pupil of Giulio Romano, 1498-1578.
Cornelius, Peter von, Germ. P., 1783-

1867. — (lxxv).
Correggio ( Antonio AUegri da), Parm.

P., 1494-1534.
Cortona, Pietro (Berettini) da, Flor.

A., P., 1596-1669. — (51).
— , Urbano da, Sien. S., d. 1504.
Cosimo, Piero di, see Piero.
Cosmati, the, Rom. S. and mosaicists,

13th cent. — (lxii).
Cozzarelli, Giac, Sien. A., S., 1453-1515.
— , Guidoccio, Sien. P., 1450-1526.
Credi,Lorenzodi, Flor. P., 1459-1537.
Cresti, Dora., da Passignano, Flor. P.,

1560-1638.
Crivelli, Carlo, Pad. and Ven. P.,

floruit ca. 1468-93.

Dalmata, Giov., Rom. S., ca. 1470-80.
David, Gerard, Dutch P. d. 1523.
Dolci, Carlo, Flor. P., 1616-86.
Domenichino (Domenico Zampieri),

Bol. P., 1581-1641. — (lxxiv).
Domenico di Bartolo, Sien. P., middle

of 15th cent. — (22).
Domenico di Paris Alfani, see Alfani.
Donatella (Donato di Niccolb di Betti

Bardi), Flor. S., 1386-1466.
Doni, Adone, Umb. P., 15401583.
Dosso Dossi (Giov. di Niccolb Lutero),

Ferr. P., ca. 1479-1542.
Duccio, Agostino d'Antonio di, Flor.

S., A., b. 1418, d. after 1481.
Duccio di Buoninsegna, Sien. P., floruit

ca. 1285-1319. — (22).
Duquesnoy, Frans, Dutch and Rom. S.,

1594-1645.
Durer, Albrecht, Germ. P., 1471-1528.
Dyck, Ant. van, Flem. P., pupil of

Rubens, 1599-1641.

Eusebio di San Giorgio, Umbr. P., ca.
150D. — (61).

Euthycrates, Greek S., son of Lysippus.
- (H).

Eutychides, Greek S., pupil of Ly-
sippus. — (li).

Fabriano, Gentile da, Umbr. P. ca.

1370-1428. — (lxiv. 61).
Federighi, Ant. (de' Tolomei), Sien.

A., S., ca. 1420-90. — (21).
Ferrari, Gaudenzio, Pied, and Lorn.

P., 1471? -1546.
Fiammingo, Arrigo, of Malines, Rom.

P., d. 1601.
Fiesole, Fra Giovanni Angelico da, see

Angelico.
— ,Mino da, Flor. andRom.S., 1431-84.
Filarete, Ant. (Ant. Averulino), Flor.

A., S., d. after 1465. — (lxv).
Fiorenzo di Lorenzo, Umbr. P., ca.

1472-1520. — (61).
Foligno, Nice. (Alunno) di Liberalore

<ia,Umbr.P.,ca. 1430-1502.— (61.76).
Fontana, Carlo, Rom. A., 1634-1714.

(lxxiii).
— , Domenico, Rom. A., 1543-1607. —

(lxxiii).
— , (Hot)., brother of Domenico, Rom.

A., 1540-1614.
Fonle, Jac. delta, see Quercia.
Francesca, Piero delta (Pietro di Bene-
detto), Umbr. Flor. P., ca. 1420-

1492. — (54. 128).
Francesco ( Cecco) di Giorgio (Martini) ,

Sien. A., S., P., 1439-1502. — (21).
Francesco di Simone, Flor. 8., 1438-

1493.
Francia, Francesco (Franc. Raibolini),

Bol. P., S., 1450-1517.
Francucci, Innoc, see Jmola.

LIST OF ARTISTS.

451

Fredi, Bartolo di Maestro, Sien. P..

1330-1410. — (22).
Fuga, Ferdinando, Rom. A., 1699-1780.
Fuhrich, Jos., Ger. P., 1800-1874.
Fungai, Bernardino, Sien. P., 1460-

1516. — (22).
Furini, Franc., Flor. P., 1604-1646.

Oraetano, Scip., Neap. P., 16th cent.
Galilei, Alessandro, Flor. A., 1691-

1737.
Garbo, Raffaellino del, Flor. P., 1466-

1524.
Garofalo (Benvenuto Tisi da), Ferr.

P., 1481-1559.
Gaulli, Giov. Batt., surnamed il Ba-

ciccio, Eom. P., 1639-1709.
QelUe, see Claude le Lorratn.
Gerino da Pistoja, Umbr. P., first

half of 16th cent. — (61).
Ghiberti, Lor., Flor. S., 1378-1455.
Ghirlandajo , Bom. (Bom. Bigordi),

Flor. P., 1449-94. — (lxiv).
— , Ridolfo(R. Bigordi), son of Dom.,

Flor. P., 1483-1561.
Giambologna, see Bologna, Giov. da.
Gimignano, Vine, da San ( Vine. Ta-

magni), Eom. P., pupil of Raphael,

1492- after 1529.
Giocondo, Fra, Veron. and Rom. A.,

1435-1515.
Giordano, Luca, surnamed Fapresto,

Neap. P., ca. 1632-1705.
Giorgione (Giorgio Barbarelli), Ven.

P., 1477?-1510.
Giotto (di Bondone), Flor. P., A., S.,

1276-1337. — (lxiii).
Gozzoli, Benozzo, Flor. P., pupil of

Fra Angelico, 1420-97.
Guercino, il (Giov. Franc. Barbieri),

Bol. and Rom. P., 1591-1666. —

(lxxiv).
Quido da Siena, Sien. P., 13th cent.

Holbein, Hans, the Younger, Germ.

P., 1497-1543.
Honthorst, Gerh. ( Gerardo dellaNotte),

Dutch P., 1590-1656.
Houdon, Jean Ant., Fr. S., 1741-1823.

Ibi, Sinibaldo, Umbr. P., first half of

16th cent. — (61).
Imola, Innocenzo da ( Inn. Franeucci),

Bol. P., 1494-1549.

Kauffmann, Maria Angelica, Ger. P.,

1741-1807.
Koch, Joseph Ant., Ger. P., 1768-1839.

Laippus, GreekS., pupil of Lysippus.

— (li)-
Landini, Taddeo, Flor. S., d. 1594.
Lanfraneo, Giov., Bol., Rom., and

Neap. P., 1580? -1647.

Laurana, Luciano da, of Dalmatip,

A., d. 1479.
Laureti, Tom., Rom. P., S., ca. 1580.
Le Brun, Charles, French P., 1619-90.
Legros, Pierre, Fr. P., 1656-1719.
Leochares, Greek S., middle of 4th

cent. B.C. — (xlix).
Leonardo da Vinci, Flor. and Milan. P.,

S., A., 1452-1519.
Licinio, Bernardino, Bergam. and Ven.

P., pupil of Pordenone, flor. ca.

1511-44.
— , Giov. Ant., see Pordenone.
Lievens, Jan, Dutch P., 1607-74.
Ligorio, Pirro, Rom. A., d. 1583.
Lionardo, see Leonardo.
Lippi, Filippino, Flor. P., 1459-1504.

— (lxiv).

— , Fra Filippo, father of Filippino,

Flor. P., 1412-69.
Lombardo,Girolamo,Ven.S., 16th cent.
Longhi, Luca, P., Ravenna, 1507-80.
Lorenzetti, Ambrogio, Sien. P., d. 1348?

— (22).

— , Pietro, Sien. P.,ca. 1309-1348— (22).
Lorenzetto, Martino (di Lodovico Cam-

panajo), Flor. and Rom. A., S.,

1494-1541.
Lorenzo di Pietro, see Vecchietta.
Lotto, Lorenzo, Ven. P., 1480-1556.
Luca di Tomme, Sien. P., second half

of 14th cent.
Luini,Bernardino,~Lom.V.,lb7Q'}-153ff!.
Lunghi, Mart., the Elder, Rom. A.

ca. 1570.
— , Onorio , Rom. A., son of the

preceding, 1561-1619.
— , Mart., the Younger, son of the

last, d. 1657.
Luti, Bened., Flor. P., 1666-1724.
Lysipput, Greek S., 4th cent. B.C.

-(1).

Maderna, Carlo, Rom. A., 1556-1629.

— (lxxiii).

— , Stefano, Lom. Rom. S., 1571-

1636.
Majano, Benedetto da, Flor. A., S.,

1442-97.
— , Giuliano, brother of the preced-
ing, Flor. A., 1432-90.
Mainardi, Seb., Tusc. P., d. 1513.
Maitani, Lor., Sien. A S., P., ca.

1275V-1330.
Manetti, Rutilio, Sien. P., 1572-1639.
Manni (Ifanni), Giannicola di Paolo,

Umbr. P., d. 1544. — (61).
Mantegna, Andrea, Pad. andMant. P.,

1431-1506.
Maratta (Maratti), Carlo, Rom. P.,

1625-1713.
Marcantonio Raimondi, Bol. and Rom.

engraver, ca. 1488-1527.

29*

452

LIST OF ARTISTS.

Marchionne,Carlo,Uom. A.,S.,1704-80.
Marcillat, Guillaume de, stained-glass

artist, 1467-1529.
Margheritone, P. and S., of Arezzo,

1236? -1313. — (45).
Mariano, Lor. di, surnamed il Mar-

inna, Sien. S., 1476-1534. — (21).
Martini. Simone (Sim. di Martino),

Sien. P., ca. 1285-1344. — (22).
Masaccio ( Tommaso di Ser Giovanni

Guidi da Gastel San Giovanni), Flor.

P., 1401-28. — (44).
Masolino (da Panicale), Flor. P.,

teacher of the preceding, 1383-1440?.
Malst/s,Quentin,Flem. P., ca.1460-1530.
Matteo (di Giovanni di Bartolo) da

Siena, Sien. P., 1435-95. — (22).
Mazzola, Franc, see Parmigianino.
Mazzolino, Lodov., Ferr. P., 1481-1530.
Melozzo da Forli, Umbr. and Bom.

P., 1438-1494. — (lxiv. 107. 128).
Memling, Hans, Flem. P., 1430-94.
Memmi, Lippo, Sien. P., d. 1356. — (22).
Menelaus, Grseco-Rom. S. of the time

of Augustus. — (liii).
Mengs, Ant. Raphael, P., 1728-79.
Meo, see Caprino.
Messina, Antonello da, Sicil. and Ven.

P., d. ca. 1493.
Michael Angclo Buonarroti, Flor. and

Rom. S., P., A., 1475-1564. — (lxvi-

lxviii. lxxii. — Comp. also the In-
dex under 'Rome'.)
Minella, Pietro del, Sien. P., 15th cent.
Mocchi, Franc, Tuscan S., 1580-1646.
Mola, Francesco, Rom. P., 1612-66.
Montelupo , Raffaello da , Flor. S.,

1505-1567.
Montorsoli, Fra Giov. Ang., Flor. S.,

assistant of Michael Angelo, 1507-63.
Moretto da Brescia (Alessandro Bon-

vicino), Bresc. P., 1498-1555.
Morone, Franc, Veron. P., 1474-1529.
Moroni, Giov. Batt., Bergam. and

Bresc. P., 1510? -1578.
Mosca, Simone, da Settignano, S.,

1498-1554.
Murillo, Bartolomi EsUban, Span. P.,

1617-82.
Muziano, Girol., Rom. P., 1530-92.
Myron, Greek S., 5th cent. B.C. —

(xlvii).

Selli, Ottaviano, Umbr. P., d.1444.—

(57. 61.)
Neroccio di Barlolomeo (Landi), Sien.

S., P., 1447-1500.
Neroni, Bartolomeo (il Riccio), Sien.

S., middle of 16th cc-nt.
Niccolb, Andr. di, Sien. P., 1460-1529.
Nucci, Avanzino, Umbr. P., ] 552-1629.
Nuzi, Allegretto, da Fabriano, Umbr.

P., 1308-1385.

Oderisio of Gubbio, miniature-paint-
er. 1240-99. — (57. 60).

Oggiono, Marco d\ Milan. P., pupil
of Leonardo, 1470? -1530.

Orcagna or Orgagna (Andrea di Ci-
one), Flor. A., S., P., pupil of Gi-
otto, 1329-1368.

Overbeck, Joh. Friedr., Germ. P.,
1798-1869.

Pacchia, Girolamo del, Sien. P., 1477-

after 1535. — (22).
Pacchiarotto, Giac, Sien. P., 1474-

after 1540. — (22).
Palladio, Andr., Yicent. and Ven.

A., 1518-80.
Palma Giovane (Giovine), Giac, Ven.

P., 1544-1628.
— Vecchio, Giac, Ven. P., 1480-1528.
Palmerucci, Guido, Umbr. P., 1280-

1345?. — (57).
Palmezzano, Marco, of Forli, P.,

1456- after 1537.
Parmigianino or Parmeggianino

(Franc. Mazzola), Parm. P., 1503-

1540.
Pasiteles, Graco-Rom. S., 72-48 B.C.

- (liii).
Passignano, see Cresti.
Pellegrini, see Tibaldi.

Penni, Franc, (il Fattore), Flor. and

Rom. P., pupil of Raphael, 1488-

1528. — (lxxii).
Perin del Vaga, see Vaga.
Perugino , Pietro (Pietro Vanned),

Umbr. and Flor. P. , teacher of

Raphael, 1446-1524. — (lxiv. 61. 88).
Peruzzi, Baldassare, Sien. and Rom,

A., P., 1481-1536. — (lxxii. 22).
Pesellino (Franc, di Stefano), Flor.

P., 1422-57.
Phidias, Greek S., 500-430 B.C. —

(xlvii).
Piero di Cosinio, Flor. P., 1462-1521.
Pintelli, or Pontelli, Baccio, Flor. A.,

S., d. 1494. — (lxiv).
Pinturicchio (Bernardino Belti),VxribT.

P., 1454-1513. — (lxiv. 61).
Piombo, Seb. del, see Sebastiano.
Pippi, see Romano.
Pisanello, see Pisano, Vittore.
Pisano , Giov., Pis. S., A., son of

Niccolo, ca. 1250- ca. 1328. — (21).
— , Niccolb, Pis. S., A., ca. 1206-1280.

- (21).

— , Vittore (Pisanello), Ver. P., ca.

1380-1451.
Polidoro, see Caravaggio.
Pollajuolo, Ant., Flor. S„ P., A.,

1429-98.
— , Piero, Flor. S., P., 1443-96?.
Polycletus, Greek S., 5th cent. B.C.

- (xlviii).

LIST OF ARTISTS.

453

Pomarancio ( Circignani) , Rom. P.,

end of 16th cent. — (lxxiii).
Ponte, Franc, Jac da, see Bassano.
Ponlelli, see Pintelli.
Pontormo, Jac. da (Carrueei), Flor.

P., 1494-1557.
Ponzio, Flaminio, Rom. A., ca. 1570-

1615.
Pordenone, Giov. Ant. (G. A. Licinio

da P.), Friulian and Ven. P., 1483-

1539.
Porta, Bart, delta, see Bartolomeo.
— , Giac. delta, horn. A., S., 1541-1604.
— , Giov. Batt. delta, Rom. S., 1542-97.
— , Guglielmo delta, Lom. and Rom.

S., d. 1577.
Poutsin, Gaspard(G. Dughet), French

P., 1613-75.
— , Nicolas, French P., 1594-1665.
Pozzo, Andrea, Jesuit, P., A., and dec-
orator, 1642-1709.
Praxiteles, Greek S., ca. 364-329 B.C.

— (xlix).
Provenzale, Marcello, Rom. mosaicist,

d. 1639.

Qttiercia, Jac. delta (or J. delta Fonte),
Slen. S., 1374-1438. — (21).

'Raffaello dal Colle, Rom. P., 1490-

1540. — (lxxii. 51).
Raphael Santida Urbino, Umbr., Flor.,

and Rom. P., A., 1483-1520. —

(lxviii-lxxii. 128. Comp. also the

Index under 'Rome'.)
Raibolini, see Francia.
Raimondi, see Marcantonio.
Rainaldi, Carlo, Rom. A., son of the

following, 1611-91.
— , Girol., Rom. A., 1570-1655.
Rembrandt, Harmensz van Ryn, Dutch

P., 1606-69.
Reni, Guido , Bol. P., 1574-1642. —

(lxxiv).
Ribera, Gins. (Lo Spagnoletto), Span.,

Neap. P., 1588-1656.
Ricciarelli, see Volterra, Daniele da.
Ristoro, Fra, Flor.A., d. 1283. — (lxiiil.
Robbia, Andrea delta, Flor. S., 1437-

1528.
— , Giov. delta, son of Andrea, Flor.

S., 1469-1529?.
— , Luca delta, Flor. S., 1399-1482.
Robusti, see Tintoretto.
Romanelli, Giov. Franc, Rom. P.,

1610? -1662.
Romano, Giulio (G. Pippi), Rom. P.,

A., pupil of Raphael, 1492-1546. —

(lxxii).
— Paolo (Paolo di Mariano di Tuccio
Taccone), Rom. S., ca. 1415- ca. 1470.
RoncalU (dalle Pomarance), Rom. P.,

second half of 16th cent. — (lxxiii).

Rondinello, Niccolb, Ravenna and Ven.

P., ca. 1500.
Rota, Salvator, Neap, and Rom. P.,

1615-73.
Rosselli, Cosimo, Flor. P., 1439-1507.

— (lxiv).

Roisellino (Bern, di Matteo Gambe-
relli), Flor. andRom. A., S., 1409-64.

— (lxiv).

Rubens, Peter Paul, Flem. P., 1577-
1640. — (lxxiv).

Sacchi, A., Rom.P., 1598?-1661.
Salaino, Andr., Milan. P., pupil of

Leonardo, ca. 1495-1515.
Salimbeni, Ventura, Sien. P., 1557?-

1613.
Salviati, Franc, Flor. andRom. P.,

1510-63.
Sammicheli, Michele , Ver. A., 1484-

1554.
Sangallo, Antonio da, the Elder, Flor.

A., 1455-1534.
— , Antonio da, the Younger, Flor.A.,

nephew of the preceding, 1483-1546.

— (lxxii).

— , Francesco da, son of Giuliano,

Flor. S., 1494-1576.
— , Giuliano da, brother of Antonio

(the Elder), Flor. A., 1445-1516.
Sano di Pietro (di Domenico), Sien.

miniature painter, 1406-81.
Sansovino, Andrea da (Andrea Con-

tucci, of Monte Sansavino), Flor.

and Rom. S., 1460-1529. — (49).
— , Jac (J. Tatti), pupil of Andrea,

Flor., Rom. and Ven. A., S., 1486-

1570.
Santi, Giov.. father of Raphael, Umb.

P., d. 1450-94. — (128).
— , Raffaello, see Raphael.
Saraceni, Carlo, surnamed Veneziano,

Ven. and Rom. P., 1585-1625.
Sarto, Andrea del, Flor. P., 1487-1531.
Sassoferrato ( Giov. Batt. Salvi), Rom.

P., 1605-85. — (lxxiv. 127).
Scarsellino (Ippolito Scarsella), Ferr.

P., 1551-1621.
Schadoa, W. von, Ger. P., 1789-1862.
Schiavone (Andr. Meldola), Ven. P.,

1522-82.
Schidone, Bart., Mod. P., d. 1615.
Schnorr (von Carols/eld), Julius, Ger.

P., 1794-1872.
Scopas, Greek S., ca. 390-350 B.C. —

(xlix).
Sebastiano del Piombo (Set. de* Luci-

ani), Ven. and Rom. P., 1485-1547.
Sermoneta, Girol. Sicciolante da, Rom.

P., d. 1580.
Signorelli, Luca, Tusc.-Umbr. P.,

1450-1523. — (lxiv. 51. 90).
Sisto, Fra, Flor. A., d. 1289. — (Ixiii).

454

LIST OF ARTISTS.

SSdoma, il (Giov. Ant. Bazzi), Lorn.,
Sien., and Bom. P., ca. 1477-1549.

— (lxxi. 22).

Solario, Andrea (A. del Oobbo), Loin.

P., ca. 1470-1515?.
Spada, Lionello, Bol. P., 1556-1622.
Spagna (Giov. di Pietro), Umbr. P.,

pupil ofPerugio, flor. ca. 1507, d.

before 1530. — (61).
JSpagnolello, see Ribera.
Specchi,Aless.,Uom.A. and engraver,

first half of 18th century.
Spinello Aretino , Flor. P., pupil of

Giotto, 1333-1410. — (45).
Stefano di Giovanni, surnamed Sas-

setta, Sien. P., d. ca. 1450.
Stephanos, Grasco-Rom. S., 1st cent.

B.C. — (liii).
Subleyras, Pierre, French P., 1699-

1749.

laddeo di Barlolo, Sien. P., ca. 1363-
1422. — (22).

Tamagni, Vine, see Gimignano.

Tatti, see Sansovino.

Tempesta, Ant., Eom. P., 1637-1701.

Teniers, David, the Younger, Flem.
P., 1610-90.

Thorvaldsen, Bertel, S., of Copen-
hagen, 1770-1844. — (lxxv).

Tibaldi (Pellegrino Pellegrini), Bol.
A. P., 1532-96.

Tiberio d'Aesisi, Umbr. P., 16th cent.

- (61).

Timarchos, Greek S., son of Praxi-
teles, 4th cent. B.C. — (xlix).

Tintoretto, Bom. (Bom. Robusti), son
of the following, Ven. P., 1562-1637.

— , il (Jac. Robusti), Ven. P., 1519-94.

Tisi, Benv., see Garofalo.

Titian (Tiziano Vecelli da Cadore),
Ven. P., 1477-1576.

Torriti, Jacobus, Rom. mosaicist, sec-
ond half of 13th cent. — (lxiii).

Tribolo (Nice. Pericoli), Flor. S., 1485-
1550.

Vccello, Paolo, Flor. P., 1397-1475. —
(128).

Udine, Giov. (Nanni) da, Ven. Eom.
P., colleague of Eaphael, 1487-1564.

— (lxxii).

Vacca, Flaminio, Eom. S., second

half of 16th cent.
Vaga, Perin del (Pier. Buonaccorsi),

Horn. P., pupil of Eaphael, 1499-

1547. — (lxxii).
Valadier, Gins., Eom. A., 1762-1839.
Valentin, Fr. P., 1601-34.
Valsoldo, Eom. S., second half of

16th cent.
Vanni, Andrea, Sien. P., 1320-1414.
— , Franc, Sien. P., 1565-1609.
— , Lippo, Sien. P., 14th cent.
Vanned, Pietro, see Perugino.
Vanvitelli, Lodov., Eom.P.,A., 1700-73.
Vasari, Giorgio, Flor. P., A., and

writer on art, 1512-74. — (46).
Vecchietta (Lorenzo di Pietro), Sien.

S., A., P., 1412-80. — (21).
Vecelli, Tiziano, see Titian.
Veit, Philipp, Ger. P., 1793-1877.
Velazquez (Diego V. de Silva), Span.

P., 1599-1660.
Venusti, Marcello, P., pupil of Michael

Angelo, 1515-1579.
Veronese, Paolo (P. Caliari),Vei: and

Ven. P., 1528-88.
Vignola (Giacomo Barozzi), A., 1507-

73. — (lxxiii).
Vinci, Leonardo da, see Leonardo.
Vilerbo, Lor. da, P., ca. 1444-69?.
Viti, Timoteo (Tim. delta Vite), Bol.,

Umbr., and Eom. P., 1467-1523.

- (128).

Volterra, Daniele da (D. Ricciarelli),
Flor. P. S., pupil of Michael An-
gelo, 1509-66. — (11).

"Wouverman, Philips, Dutch P.,
1619-68.

Zampieri, see Bomenichino.
Zucchero (Zuccaro), Federigo, Eom.

P., 1560-1609. — (lxxiii).
— , Taddeo, Eom. P., 1529-69.

Contractions of Proper Names.

Ag.

= Agostino.

Fil. = Filippo.

Lod.

= Lodovico.

Al.

= Alessandro.

Franc. = Francesco.

Lor.

= Lorenzo.

Ann.

= Annibale.

Giac. = Giacomo.

Nice.

== Mccolo.

Ant.

= Antonio.

Giov. = Giovanni.

Rid.

= Eidolfo.

Bart.

= Bartolomeo.

Girol. = Girdlamo.

Seb.

= Sebastiano

Batt.

= Battista.

Gius. = Giuseppe.

Tom.

= Tommaso.

Bern.

= Bernardo.

Gugl. = Guglielmo.

Vine.

= Vincenzo.

Dom.

= Domenico.

Jac. = Jacopo.

Vitt.

= Vittorio.

INDEX.

Abete, Monte deir 13.
Accumoli 82.
Acqualagna 127.
Acqua Acetosa 384.

— Felice 165.

— Rossa 101.

— Santa 392.

— Vergine 390.
Acquasanta 82.
Acquaviva Marche 127.
Acque Albule 418.
Adriana, Villa 420.
jEsis 125.
iEthalia 14.
Affile 431.
Agosta 426.
Agylla 433.
Albacina 126.
Alba Longa 412.
Alban Mountains, the

407.
Albano 413.
— , Lago di 411.

— Laziale 413.
Albanum 413.
Albareae 4.
Albegna 5.
Albinia 5.
S. Albino 44.
Algido, Monte 443.
Allerona 88.
Allia 388.
Allumiere 8.
Almo, brook 393. 394.
Alaium 9.
Alviano 94.
Amaseno 446.
Amatrice 82.
Amelia 85.
Ameria 85.
Amiata, Monte 41.
Amyclae 448.
Ancona 118.
Anemo 105.
S. Angelo (near Grosseto)

41.

— in Vado 117.
Anghiari 54.
Anguillara 104.
Anio, river 389. 419. 425.
Anio novus 185.

S. Ansano a Dofana 39.

Ansedonia 5.

Antemnfe 388.

Antico, Monte 41.

Anticoli 426.

S. Antimo 40.

Antium 439.

Anxur 446.

Anzio 439.

Apennines, the 121, etc

Appia Antica, Fortezza

396.
— , Via 393. 445.
Aqua Alexandrina 391.

— Claudia 392.

— Ferentina 411.

— Marcia 392.
Aquse Albulse 418.

— Apollinarea 104.

— Tauri 8.

— Volaterranae 10.
Aquila 82.
Arbia 38.
— , river 40.
S. Arcangelo di Romagna

109.
Arcevia 127.
Areidosso 41.5
Arco Muto 440.
Oscuro 196.
Ardea 438.
Arezzo 45.

Argentario, Monte 5.
Ariccia 414.
Aricciana, Valle 414.
Ariminum 110.
Arquata 82.
Arretium 45.
Arrone, river 6. 9.
Artemisio, Monte 443.
Artena 413.
Arvales, Grove of the

435.
Asciano 39.
Ascoli Piceno 82.
Asdrubale, Mte. d' 117.
Assino, the 57.
Assisi 70.

Astagno, Monte 118.
Astura 440.
Attidium 126.
Attigliano 94.
Augustanua, Vicus 438.

Augustus, Bridge of

85.
Autore, Monte 428.
Auximum 121.
Avellana 127.

Baccano 103.
Badia del Furlo 117.
Bagnaja 100.
Bagni 418.
Bagno a Morbo 10.
Bagnorea 98.
Balneum Regis 98.
Baize, Le 12. 55.
Barbarano 102.
Baschi 94.
Bassano di Sutri 103.

— in Teverina 94.
Bastia 70.
Bedesis 106.
Belcaro 38.

Belforte sul Chienti 125.
Bellegra 431.
Bellisio Solfare 127.
Belreapiro, Villa 380.
S. Benedetto 108.

— (convent near Su-
biaco) 427.

S. Bernardino 130.
Bertinoro 108.
Betolle 50.
Bevagna 77.
Bibbona-Casale 3.
Bieda 102.
Bisentina 93.
Bisenzo, Monte 98.
Blera 102.
Bologna 105.
Bolsena 93.
— , Lago di 93.
Bomarzo 94.
Borghese, Villa 440.
Borghetto 94.
Bosco 69.

— Sacro 394.
Bovillse 396.
Bracciano 103.
— , Lago di 103.
Branca 59.
Bruna, river 4.
Bucine 45.
Bullicame, II 101.

456

INDEX.

Buonconvento 40.
Burano, river 127.

Caecina 3.
Ciere 433.
Ceesena 108.
Caffarella, brook 394.
Cagli 127.

Calamita, Monte 14.
Cales 127.
Calmazzo 117.
Calvario, Mte. 103.
Calvi 91.
— , Monte lOi.
Camaldoli 410.
Camerino 125.
Camerinum Umbrorum

125.
Campagna di Roma 381.
Campana, Grotta 432.
CampeHo 78.
Campiglia Marittima 3.
Campo d'Annibale 416.

— Reggiano 57.
Camucia 50.
Candigliano, river 117.

127.
Canneto Marche 127.
Canoscio 56.
Cantalupo 426.
Canterano 425.
Cantiano 117.
Capalbio 5.
Capanne, Monte 14.
Capannelle 411.
Capo d'Acqua 82.

— di Bove 395.
Capodimonte 98.
Capoliveri 14.
Caporciano 13.
Capraia 13.
Capranica 102.
Capraria 13.
Caprarola 102.
Caprea, Monte 441.
Caprile, Col 75.
Carceri, Eremo delle 75.
Careiai 104.
Carpineto 441.
Carroceto 433.
CarsnlEe 70.

Casale Marcigliana 388.

— di S. Maria Nuova
396.

— di Prima Porta 384.

— Rotondo 396.
Casaliua 69.
Casape 430.
Cascate Marmore 83.
Casciana 2.

Casino di Terra 10.
Cassia, Via 333. 98.
Castagneto 3.

Castel d'Asso 101.

Bolognese 105.

Durante 127.

S. Elia 96.
Castelfidardo 122.
Castel Fiorentino 15.

— Fusano 438.
Gandolfo 412.
Giubileo 388.

— Madama 425.

— del Piano 41.
Porziano 438.

— Raimondo 125.
Todino 70.

Castellina in Cbianti 18
Castellum Axia 101.
Castelnuovo delP Abate
40.
Berardenga 39.

— di Val di Cecina 10.
Castelplanio 126-
Casteluecio 82.
Castiglione 390.

— Fiorentino 50.

— del Lago 86.

— d'Orcia 41.

— della Pescaja 4.

— in Teverina 94.
, Promontory of 4.

Castrimoenium 411.
Catillo, Monte 424.
Catria, Monte 127.
Cattolica, La 113.
Cave 430.
Cavo, Monte 417.
Ceccarelli, Vigna 435.
Cecchina 411.
Cecchignola 396.
Cecina 3.
— , river 3. 10.
Cellole 18.
Celsa 38.
Centum Cellse 8.
Cerboli 14.
— , Monte 10.
Cere Nuovo 433.
Certone, the 5i.
Ceri 433.
Cerrara 83.
Cerreto d'Esi 125.

— di Spoleto 82.
Certaldo 15.
Cervara 418. 426.
Cerveteri 433.
Cesano 104.

— , river 118.

S. Cesareo,Osteria di410

Cesena 108.

Cesi 85.

Cetinale 38.

Cetona 88.

— , Monte 44.

Chiaggio, river 70. 126.

Chiana,river 38. 41. 50. 86,

Chianciano"44.

Chiaravalle^l25.

Chiarone 5.

Chiascio, river 57.

Chienti, the 124. 125.

Cbiusi 86.

— , Lake of 44.

Ciampino 428.

Ciciliano 425.

Ciminius, Mons 101.

Cinigiano 41.

Circeo, or

Circello, Monte 447.

Cisterna 444.

Citerna 51.

Citta di Castello 55.

— della Pieve 88.
Civita Castellana 95.

— Lavinia 442.
Civitanova, Porto 124.
Civita Vecchia 8.
Civitella 431.

— d'Agliano 100.
Clanis 50.

Clitumnus, the 77. 78.
Clivus Cinnse 385.

— Martis 393.
Clnsium 86.
Collatia 418.

Colle di Val d'Elsa 16.

— del Poetello 426.

— Salvetti 2.
Collescipoli 85.
Collestatte 83.
S. Colomba 38.
Colonia Fidens Inlia

Arretium 45.

— lulia Hispellum 75.
Saena 20.

— Junonia 95.
Colonna 4.

— (Mte. Compatri) 428.
Compiobbi 44.
Conca, river 113.
Conero, Monte 121.
Cora 443.

Corcolle 390.
Cori 443.

Corneto (Tarquinia) 6.
Corniculum 418.
Corsignano 43.
Cortona 50.
Cosa 5.

Costacciaro 117.
S. Costanza 389.
Cremera, the 384. 432.
Crocicchie 104.
Cura Nuova 4.
Cures 96.

Deruta 69.
Digentia 426.

INDEX.

457

S. Donato 13.

— Marche 127.
S. Donnino 15.
Due Ponte 384.
Durante Castel 127.

Egeria, Grotto of 394.
S. Egidio, Alta 53.
Elba 13.
EUera 64.
S. Ellero 44.
Elsa, river 15.
Emissarium of the Lago

Albano 412.
Emplglione, the 425.
Empoli 15.
Ercole, Port' 5.
Esino, river 125. 118.
Etruscan Towns 432.
S. Eugenio, Abbazia di38.
Eugubium 57.

Fabriano 126.

S. Facondino 126.

Faenza 105.

Falconara 118.

Falcone, Monte 391.

Falconieri, Villa 410.

Falerii 95.

Falerium Novum 95.

Fano 115.

Fannm Fortnnse 115.

— Vacunse 426.

— Voltumnaj 97.
Fara Sabina 96.
Farfa 96.
Fauglia 2.
Faventia 105.

S. Felice Circeo 447.
Ferento 100.
Ferentum 101.
Fermignano 127.
Ferrata, Grotta 410.
Ficulle 88.
Fidense 388.
Figline 44.
Filomarino , Osteria di

388.
Fiora, river 5.
S. Fiora 41.
Fiumicino 435.

— di Cave 430.
— , river 109.
Florence 15.
Foglia, river 113. 115.
Fogliano, Mte. 101.
Fojano 50.

Foligno 75.
Follonica 4.
Fondo, Lago di 449.
Fonte degli Oratini 426.

— della Bagnaia 448.
Forca Cannapine 82.

Forca di Cerro 82.
Fori! 107.
Forlimpopoli 108.
Formello, Fosso di 432.
Fortezza Appia Antica

396.
Forum Cassii 102.
Clodii 104.

— Livii 107.

— Popilii 108.

— Sempronii 117.
Fossanova 446.
Fossato diVico 126.
Fossa Trajani 435.
Fosso Cacchiano 102.

— di Formello 432.

— deir Isola 432. 96.
di Ponte di Nona

390.

Fossombrone 117.
S. Francesco (Sabine

llts.) 431.

— (Fojano) 50.
Frascati 408.
Frassinetto 50.
Frasso 446.
Fratocchie, Le 396.
Fregense 9.
Frontone 127.
Frosinone 446.
Fulginise 76.
Fumaiolo, Monte 55.
Furbara 9.

Furlo Pass 117.

Gabii 390.
Gagliole 125.
Galera 104.
S. Galgano 38.
Gallese 94.
Gallicano 390.
Gallinas, Villa ad 384.
Galloro 414.
Gambettola 109.
Gavignano 441.
Gavorrano 4.
Gelsoniina, river 104.
S. Gemini 70.
Genazzano 430.
Gennaro, Monte 418.
Genzano 414.
Gerano 425.
S. Giacomo 78.
Giano, brook 126.
Giglio 15.
S. Gimignano 16.
S. Giovanni d'Asso 40.

- di Ponte alio Spino

38.

■ Valdarno 44.
Girolamo, convent

13.
Giove, Monte 117.

Giulianello 443.

Giuncano 82.

Giuncarico 4.

S. Giustino 55.

S. Giusto, Monte 124.

Gonfolina, the 15.

Gordiani, Villa of the 3S0.

Gorgona 13.

Gradara 115.

Granaiolo 15.

Grano, Monte del 392.

Gran Sa«o d'ltalia 121.

, Monte 82.

Graviscse 8.

S. Gregorio 430.

Grosseto 4.

Grotta Campana 432.

— Ferrata 410.
Grotti 82.

Grotto of Egeria 394.
Gualdo Tadmo 126.
Guasco, Monte 119.
Gubbio 57.

Hadrian's Villa 420.
Helvia Ricina 124.
Hispellum 75.
Horace, Villa of 424.
Horta 94.

Igilium 15.
Iguvium 67.
Ilva 14.
Imola 105.
Imperiale, Villa 115.
Incisa 44.

Inferno, Valle d' 104.
Inghirami, Villa 13.
Interamna Nahars 83.
Intercisa 117.
Isola Farnese 432.

— Maggiore 53.

— Minore 53.

— Polvese 53.

— Sacra 435.

Jenne 428.
Jesi 125.

Jupiter Latialis, Temple
of 417.

labici 428.
Labico 441.
Labicum 428.
Lacus Albanus 411.

— Amyclanus 448.

— Ciminius 101.

— Fuudanus 448.

— Nemorensis 415.

— Prelius 4.

— Sabatinus 103.

— Trasimenus 53.

— Vadimonis 94.

458

INDEX.

Lacus Vulsiniensis 93.

Ladispoli 9.

La Magliana 9. 435.

— Mola 413.

Lago Zolforeo 10.

Lamone, river 105. 106.

Lanuvium 442.

Larderello 10.

Laterina 45.

Latinm 382.

Laurentum 438.

Lavinium 438.

Leano, Mte. 446.

Le Baize 12. 55.

Leghorn 2.

S. Leo 113.

Le Vene 78.

Licenza 426.

— , river 425.

Livia, Villa of 384.

Loreto 122.

S. Lucchese, monast. 16

S. Luce 3.

Lucignano 41.

Luco, Monte 81.

Lugnano 441.

Lnnghezza 418.

Maccarese 9.
— , Stagno di 9.
Macchia di Ostia 438.
Macerata 124.
Madonna del Buon Con-
siglio 430.

— del Campo 430.

— di Canoscio 56.

— della Casa 426.

— del Piano 102.

— del Tufo 416.
Maecenas, Villa of 424.
Maenza 446.
Magazzini 14.
Magione 54.
Magliana 9. 435.
Magliano 94.
Malafede, Ost. di 438.
Manciano 5.
Mandela 426.
Manziana 103.
Marano 426.

— , river 113.
Marcellina 419.
Marches, the 105.
Marecchia, river 109. 110.
Maremme, the 2.
S. Maria degli Angeli 70.

— delle Grazie 118.

— del Monte 109.

— della Quercia 100.

— di Quintiliolo 424.

— dei Servi 88.
S. Marinella 9.
Marino 411.

S. Marino 112.
Mario, Mte. 385.
S. Marmi 11.
Marmoraia 38.
Marmore 84.
— , Cascate delle 84.
Marotta 118.
Marsiliana 5.
Marta 98.

, river 6. 98.
Martana 93.
Martignano, Lago 103.
S. Martino al Cimino 102.

Piano 117.

Massa Marittima 4.
Massi, Monte 13.
Matelica 12a.
Melano 127.
Meldola 103.
Meloria 13.
Mentana 390.
Metaurus 117. 118.
Mevania 77.
S. Mezzano, Villa 44.
Mignone, river 8.
Milvius, Pons 383.
S. Miniato alTedescho 15.
Mola, La 413.
Mondavio 118.
Mondolfo 118.
Mondragone, Villa 410.
Mons Albanus 417.

— Ciminius 101.

— Sacer 389.
Montalcino 40.
Montalto di Castro 5.
Monte dell' Abete 13.

— Accio 115.

— Algido 443.

— Amiata 41.

— di Ancona 121.

— Antlco 41.

— Argentario 5.

— Artemisio 443.
d'Asdrubale 117.

— Astagno 118.

— S. Bartolo 115.

— Calvario 103.

— Calvi 104.
Capanne 14.
Castelli 56.

— Catillo 424.

— Catini 13.

— Cavo 417.
Montecchio 50. 115.
Monte Celio 418.

— Cerboli 10.

— Ciminio 101.
Cicero, or
Circello 447.
Compatri 410. 428.
Conero 121.
Corona 57.

Montecosaro 124.
Monte Cristo 15.
Montefalco 77.
Monte Falcone 391.
Monteflascone 97.
Montefiorentino 127.
Monte Fogliano 101.

Gennaro 418.

Giove 117.

— S. Giusto 124.

— del Grano 392.
Guasco 119.

Montelanico 441.
Monte Leano 446.

— Lueo 81.
Montelupo 15.
Monte Malo 385.
Montemarciano 118.
Monte Mario 385.

— Massi 13. <

— Oliveto Maggiore 39.

— Pennino 126.
Montepescali 4.
Monte Petrara 117.

— Porzio Catone 410.
Montepulciano 41.

— , Lago di 44.
Montereale 82.
Monte Riggioni 19.
Monterosi 103.
Monte Rosso 127.

— Rotondo (near Rome)
390. 97.

Monterotondo (near Vol-

terra) 10.
Monte Sansavino 49.
Subasio 75.
Trevi 445.
Montevarchi 45.
Monte Verano 104.
Monticelli 418.
Montone, river 106.
Morrovalle 124.
S. Mustiola a Torri (Val

di Merse) 38.

Nar 83.
Narni 85.
Narnia 85.
Nemi 415.

, Lago di 415.
Nepete 96.
Nepi 96.
Nequinum 85.
Nera, river 70. 82. 83.

— Montoro 86.
Nero's Tomb 384.
Nettuno 440.
Ninfa 444.
Nocera Umbra 126.
Nomentum 390.
Norba 444.
Norchia 102.

INDEX.

459

NoYoia 82.
Norma 444.
Nuceria 126.
Nursia 82.

Ocriculum 94.

Olevano 430.

Ombrone, river 4. 15. 38

S. Onofrio 104.

Ontanese 443.

Oratini, Fonta degli 426,

Orbetello 6.

Orcia, river 41.

Orciano 3.

Orele 102.

S. Oreste 96.

Oriolo Romano 103.

Orte 94.

Orvieto 89.

Osa^ river 5.

Osimo 121.

Osservanza, L' 37.

Osteriadi Cavamonte391

— S. Cesario 410.

— di Filomarino 388.

— delle Fratocchie 396.

— di Malafede 438.

— dell' Osa 390.

— del Ponticello 399.
438.

— della Volte 38.
Ostia 436.

— , Macchia di 438.
— , Stagno di 438.
Otricoli 94.

Padule 59.
Paganico 41.
Paglia, river 88.
Palazzo 126.

— del Pero 54.
Palazzolo 126.
Palazzuola 416.
Palestrina 423.
Paliano 430.
Palidoro 9.
Palmaiola 14.
Palo 9.

Palombara 418.
Palombaro 396.

S. Pancrazio, Monte 94,
Panicale 86.
Paola,.Lago di 448.
S. Paolo, Stazione di 435
Papa Giulio, Villa of 196,
Papigno 83.
Passerano 390.
Passignano 54.
S. Pastore 391.
Pausula 124.
Pedum 390.
Pellegrino 126.
Penning, Mte. 126.

Pergola 127.
Perugia 59.
Accademia di Belle Arti

67.
S. Agostino 66.
S. Angelo 66.
Antiquarian Museum

66.
Arco di Augusto 65.
Banca di Perugia 62.
S. Bernardino, Oratorio

67.
Biblioteca Pubblica 64.
Botanic Garden 65.
Cambio , Coll. del 62
Cathedral 64.
Cemetery 69.
Chiesa Nuova 67.
Collegio del Cambio 62
Corso Cavour 67.

— Garibaldi 66.

— Vanucci 62.
S. Costanzo 69.
S. Domenico 68.
Episcopal Palace 64.
S. Ercolano 67.
Fonte Maggiore 64.

S. Francesco al Prato

67.
Frontone, Giardino del

69.
House of Perugino 67.
S. Lorenzo 64.
Madonna della Luce

67.

— di Monte Luce 60.
Maesta delle Volte 64,
S. Martino di Verzaro

64.
Museum 66.
Necropolis 69.
Painting (Umbrian

School) 60.
Pal. Antinori 65.

— del Capitano del Po
polo 67.

— Cesaroni 62.

— Gallenga 65.

— del Municipio 63.

— del Podesta 67.
Perugino, House of 67.
Piazza Danti 65.

— Fortebraccio 65.

— Garibaldi 67.

— del Municipio 64.

— del Sopramuro 67.

— Vitt. Emanuele 62.
Picture Gallery 63.

S. Pietro de' Cassinensi

68.
Pinacoteca 63.
Porta S. Angelo fi6,

— Marzia 67.

Perugia:
Porta S. Pietro 68.
Prefettura 62.
Scirri, Torre degli 67.
S. Severo 65.
Statue of Julius III. 64.

— of Garibaldi 67.

— of Victor Emma-
nuel II, 62.

University 65.

-, Old 67.

Via de' Priori 67.

Volunni, Sepolcro dei
69.
Perusia 60.
Pesa, river 16.
Pesaro 113.
Petrara, Monte 117.
Pianosa 15.
Picenum 121.
Piediluco 85.
Piedipaterno 82.
Pienza 43.
Pietralata 117.
Pietralunga 57.
Pieve S. Stefano 55.
Piombino 3.
Piperno 446.
Pisa 2.

Pisaurum 113.
Pisaurus 113.
Pisciatello, the 109.
Pisoniano 425.
Pitigliano 5.
Pizzoli 82.
Planasia 15.
Plaulii, Tomb of the

419.
Poggibonsi 16.
Poggio degli Alberelli 38.

— Croce 13.

— Mirteto 96.

— (near Campiglia) 3.
Pole-Piobbico 127.
Poli 430.
Polimarlium 94.
Pollenza 125.

S. Polo de' Cavalieri

419.
Pomarance 10.
Pompey, Tomb of 413.
Pons Milvius 383.
Pontassieve 44.
Ponte dell' Acquoria 424.

— deirAbbadia 5.

— a Botte 117.

— della Catena 444.

— Centesimo 126.
Pontedera 9.
Ponte a Elsa 15.

— Felcino 69.
Felice 94.

— Galera 9.

460

INDEX.

Ponte Ginori 10.

— S. Giovanni 70.

— Lucano 419.

— Mammolo 419.

— Molle 383.

— Nomentano 389.

— di Nona 390.

— d'Orsino 430.

— Salario 388.

— Sodo 432.
Ponticello, Osteria del

39 1. 438.
Ponticino 45.
Pontignano, Certosa di

38.
Pontine Marshes 445.
Populonia 3.
Porta Anrelia 379.

— Furba 392.
Porto 435.

— Civitanova 124.

— Clementino 8.

— Ercole 5.
Portoferraio 14.
Porto Logono 15.
Portonaccio 97.
Porto Recanati 123.

— S. Stefano 5.
Portovecchio 3.
Portus Trajani 435.
Porzio, Mte. 410.
Potenza, river 124. 125.

— Picena 124.
Prseneste 429.
Pratone 419.
Prattica 438.

Prima Porta, Casale di

384.
Privemum 446.
Prossedi 446.
Punicum 9.
Pupluna 3.
Pussino, Val di 384.
Pyrgos 9. 433.

S. auirico 40.

Ranchi del Nestoro 56.
Ranza 13.
Rapolano 41.
Ravenna 105. 108.
Recanati 123.
Regillus, Lake 391.
Regresso 422.
Riccione 113.
Rignano, on the Arno 44
Rimini 109.
Rio Falisco 96.

— Marina 14.
Riparbella 10.
Roeca Canterano 426.

— S Casciano 108.

— Giovane 425.

Rocca Gorga .446.
— Massima 443.

di Papa 416.

Romana 104.
Roccasecca 446.
Rocca S. Stefano 431.
Roccastrada 41.
S. Rocco 426.
Rojate 431.
Roma Vecchia 39G.

ROME 131.
Accademia di Francia
159.

— di' Belle Arti 213

— de' Lincei 371.

— di S. Luca 272.
Acqua Acetosa 334.

— Felice 165.

— Paola 379.

— Santa 392.

— Vergine 390.
S. Adriano 258.
^Edes Castoris 259.
.Krarium milit. 273.

— publ. 255.
S. Agata in Subura 176.
Ager Vaticanus 312.

S. Agnese 221.

— Fuori le Mura 389.
S. Agostino 214. lxiv.
Albergo dell' Orso 213
Aldobrandine Nuptials

367.
S. Alessio 287.
S. Alfonso de' Liguori

lb3.
All Saints, Ch. of 157.
Alta Semita 155.
Amazon after Polycle-

tus 360.
American Church 174.

146.

— Classical School 141.
Amphitheatrum Cas-

trense 312.

— Flavium 266.
Anaglypha Trajani 256.
S. Andrea 383.

— delle Fratte 160.

— al Quirinale 177.

— dellaValle22i. lxxiii
-. Chap, of 383.

S. Angelo, Castello 314.

— in Pescheria 232.
Anio Novus 185.

S. Anna, Chapel of 286
S. Anselmo 288.
Antinous 352. 387. (356)

liv.
Antiquarium ,294.
Antiquities, vendors of

141.

ROME:

S. Antonio Abbate" 182.
S. Apollinare 214.
Apollo Belvedere 358.

— Musagetes 352.

— Sauroctonus 353.
SS. Apostoli 210.
Apoxyomenos 360. 1.
Aqua Claudia 185. 281.

— Julia 183.

— Marcia 174.

— Trajana 379.

— Virgo 161.
Ara Pacis 199.

Arch of Augustus 259.

— of Constantine 270.

— of Dolabella and
Silanus 297.

— of Drusus 294.

— of Gallienus 182.

— of the Money-
changers 282.

— of Sept. Severus
257.

— of Tiberius 255.

— of Titus 265. liv.
Archseol. Society, Brit-
ish and American 146.

, German 249.

, French 229.

Archivio Vaticano 364.
Arco della Ciambella
218.

— di Giano 282.

— Oscuro 196.

— dei Pantani 273.
Arcus Argentariorum

282.
Area Capitolina 234.

— Palatina 278.
Ariadne (Vatican) 251.
Arrival 133.

Art Dealers 141.
Artists'Association 141.
Arx Capitolina 234.
Atrium Vestse 262.
Auditorio di Mecenate

182.
Augustus, Bust of 365.
— , Mausoleum of 198.
— , Statue of 359. liii.
Aula Dei 303.
Aurora, Casino deirl63.
Aventine, the 286.154.
Bagni di Paolo Emilio

274.
S. Balbina 291.
Banca d'ltalia 176.
Bankers 139.
Baptistery (Lateran)

302.
Barcaccia, La 160.
Barracks 316.

INDEX.

461

ROME:

S. Bartolomeo 233.
Basilica ^Emilia 251.
285.

— of Constantine 264.

— Constantiniana\303

— Eudoxiana 188.

— Julia 254.

— Liberiana 180.

— of SS. Nereo ed
Achilleo 405.

— ofSt.Petronilla405

— Porcia 251.

— S. Salvatoris 303.

— Sempronia 251.

— Sessoriana 186.

— di S. Stefano 392.

— Ulpia 275.

— of St. Valentine 383.
Baths 140.
Battistero, II 302.
Beer 137.
Belrespiro 380.

S. Bernardo 164.

S. Biagio della Pagnot

ta 230.
S. Bibiana 183.
Bibliography xxvii.
Biblioteca Alessan-

drina 219. 220.

— Angelica 214.

— Barberiniana 365.

— Casanatensis 219.

— S. Cecilia 146.

— Chisiana 146.

— Corsiniana 146.

— Lancisiana 317.

— Sarti 272.

— Vallicellana 227.

— Vaticana 364.

— Vittorio Emanuele
146.

Bibulus, Tomb of 202.
Bicycles 139.
Birrerie 137.
Bocca della Verita 283
Bohemian Hospice 227.
S. Bonaventura 265.
Bookbinders 142.
Booksellers 142.
Borghese, Villa 190.
Borgo 312.

— S. Angelo 317.

— Nuovo 317.

— S. Spirito 317.

— Vecchio 317.
Botanic Garden 294. 368.
Bramante :

Belvedere of the Va-
tican 329.

Cortile di S.Damaso
(or delle Logge)
330.

ROME :

Bramante:

Cloisters of S. Maria
della Pace 223.

Pal. Giraud 317.

St. Peter's 319.

Tempietto 377.
British Academy 141.
Bronzes, antique 242,

363.
— , Imitations of 142.
Cabs, see Appx.
Csecilia Metella, Tomb

of 395.
Cselius, the 151. 294.
Cafes 136. 147.
Calcografla Regia 161.
Cameos 142.
Camera de' Deputati

215.
Campagna di Roma

381.
Campo di Fiore 228.

— Vaccino 252.

— Verano 185.
Campus Martius 153

197.
Cancelleria, Pal. 226.

lxvi.
Candelabra 350. 354.
Capitol 234.
— , Coll. of the 239.
Capitoline Hill 153.

— Museum 244.

— Picture Gallery 244.

— Venus 249.

— Wolf 242.
Capo di Bove 395.
Cappella del Sudario

2^4.
Capuchin Church 162.
Caracalla, Thermae of

291.

Career Mamertinus 271.
Carceri Nuove 230.
S. Carlo alle Quattro

Fontane 164. lxxiii.

— ai Catinari 231-

— al Corso 198.
Carnival 147.
Carriage Hirers 139.
Carthusian Monastery

167.
Casa di Crescenzio 285.

— di Livia 277.

— di Pilato 285.

— Professa 224.

— di Raffaele 215.

— di Rienzi 285. lxii.

— Tarpeia 249.

— Zuccari 162.
Casale Rotondo 396.
Casino dell' Aurora 163.

ROME;

Casino of Julius III.
196.

— Massimi 305.

— Rospigliosi 179.
Castello S. Angelo 314.
Castra Peregrina 297.
Castro Pretorio 166.
Casts 142.
Catacombs 400. xxxiv.

— of St. Agnes 406.

— of S. Alessandro
406.

— of St. Calixtus 404.

— of Domitilla 405.

— of S. Generosa 435.

— Jewish 406.

— of SS. Kerens and
Achilleus 405.

— of SS. Peter and
Marcellinus 406.

— of St. Pontianus
406.

— of St. Prsetextatus
405.

— of St. Priscilla 406.

— ofS. Sebastiano 40S.
S. Caterina de' Funavi

231.

— di Siena 176.

S. Cecilia in Trastevere

375.
Cemetery, German 328.
— , Jewish 286.
— , Protestant 289.
S. Cesareo 293.
Cestius, Pyramid of

289
Chemists 140.
Chiesa Nuova 227.
Christian Museum 308.
Chronological Table of

the Emperors and

Popes xxxix.
Church Festivals 144.
Circo Agonale 220.
Circus of Caligula 312.

— of Domitian 220.

— Flaminius 231.

— of Mixentius 395.

— Maximus 286.
Civitas Leonina 313.
Claude Lorrain's Land-
scapes 207.

S. Clemente 299. lx.

lxii. lxiii.
Climate xxiv.
Clivus Capitolinus 255.

— Cinnse 385.

— Martis 393.

— Victorias 276.
Cloaca Maxima 283.
Clothing 143.

462

INDEX.

ROME :'

Coemeterium Ostria

nnm 406.
Collegio S. Anselmo

28S.

— di Propaganda Fide
160.

— Romano 203. 219.
Collegium Urbanum

160.
Collis Hortorum 158.
Colonacce, Le 274.
Colonna, Pal. 210.
Colonnade of the

Twelve Gods 253.
Colosseum 266.
Columbaria 293. 294.

380. 394.
Comitium 250.
Concerts 147.
Concordia, Temple of

254.
Confectioners 136.
Congregazione di Ca-

rita 375.
Conservator!, Palace of

the 238.
Consulates 139. 199.
Coral 142.
Corso Umberto Primo

197.

— Vittorio Emanuele
223.

Corte d' Appello 227.

S. Cosimato 375.

SS. Cosma e Damiano

263. lx. lxi.
S. Costanza 389.
Court of Justice 316
Crescentius, House of

285.
S. Crisogono 374.
S. Croce in Gerusa-

lemme 186.
Curia Hostilia 250.

— Julia 258.
Dentists 140.
Deputies, House of 215
Diadumenos Relief

356.
Diary 150. 151.
Diocletian, Thermae of

166.
Dioscuri 237.
Discus-thrower of My

ron 215. 350. xlvii.
SS. Domenico e Sisto

176.
Domine Quo Vadis 393.
Dominican Monastery

287.
Domus Augustana 278.

— Flavia 278.

ROME:

Domus Livise 277.

— Tiberiana 277.
Doria, Pal. 207.
Doryphorus (after Po-

lycletus) 360.
Drusus, Arch of 294.
Egeria, Grotto of 394.
Egyptian Museum 360.
S. Eligio degli Oreflci

230.
Embassies 139. 165.
English Churches 146
Engravings 143. 161.
Eros ofPraxi teles xlix.
Esquiline 153.
Ethnographical Mu-
seum 204.
Etruscan Museum 361.
Eurysaces, Mon. of 186.
S. Eusebio 183.
Excubitorium of the

Vigiles 374.
Farnese Gardens 276.
Farnesina, Villa 363

lxxi.
Fasti Consulares 243.
Fattorini Pubblici 139,
Faustina, Temple of

263.
Festivals, Church 144.
— , Popular 147.
Ficoronian Cista 206.
Filippo Neri, Chapel of

225.

, Oratorio di 227.

Finance Office 163.
Flavian Palace 278.
Fontana delle Tarta-

rughe 231.

— di Trevi 161.

— del Tritone 162.
Fontanone deir Acqua

Felice 165.

— di Ponte Sisto 373.
Fora of the Emperors

271.
Fortune, Temple of

285.
Forum of Augustus 273.

— Boarium 283.

— of Caesar, or Forum
Julium 273.

— Holitorium 233.

— of Nerva 274.

— Romanum 250.

— of Trajan 274.

— Transitorium 274.
S. Francesca Romana

264. '
S. Francesco di Paola
188.

— a Ripa 376.

ROME:

Galleria d'ArteModerna
174.

— Barberini 164.

— Borghese 213.

— Colonna 210.

— Corsini 370.

— Doria-Pampbili 207.

— Lateranense 310.

— of the Vatican 344.
Gallienus, Arch of 182.
Galluzze, Le 185.
Ganymede (after Leo-
chares) xlix.

Garrison 148.
Gaul, Dying 246. li.
German Hospice 222.
Gesii 223. lxxiii.

— e Maria 198.
Ghetto 232.

S. Giacomo in Augusta
(degli Incurabili) 198.

— Scossa Cavalli 317.

— degli Spagnuoli 221.
Gibson's House 157.
S. Gioacchino 316.

S. Giorgio in Velabro

282.
Giotto's Navicella 321.
S. Giovanni de' Fioren-

tini 228.

— in Fonte 302.

— in Laterano 303.

lxiii. lxxiii.

— in Oleo 293.

— e Paolo 296.

— a Porta Latina 293.
Giulio, Villa di Papa

196.
S. Giuseppe a Capo le
Case 161.

— dei Falegnami 271.
Gladiator, Dying 246.
Gloves 143.
Goethe's House 198.
Golden Palace of Nero

276.
Goldsmiths 142.
Goods Agents 141.
Graces, relief of the

358.
S. Gregorio Magno 295.
Grotte Vaticane 327.
Grotto of Egeria 394.
Guercino's Aurora 163.
Guido Reni's Aurora

179.
Hadrian's Tomb 314.
Hairdressers 140.
Hawthorne's Marble

Faun 214.-246.
Hercules, Torso of 357.
Hilda's Tower 214.

INDEX.

463

ROME:
Hills of Rome, Seven

153.
History of the City of

Eome xxviii.
Horrea 288.
Horse Tamers (Quiri

nal) ITT.
Horses 139.
Hospice, German 222.

— Military 298.

— for Women 302.
Hotels 133.
Hydropathics 140.

S. Ignazio 203. Ixxiii.
Ilian Tablet 248.
Immacolata, Column of

the 160.
Isola Tiberina (di Bar-

tolomeo) 233.
Istituto Chimico 180.

— de' Ciechi 287.

— Tecnico 188.
S. Ivo 220.
Janiculum, the 373.
Janus Quadrifrons 282
Jesuit Churches 203.

223. Ixxiii.

— House 224.
Jewish Cemetery 286.
Juno Barberini 352.

— Ludovisi 173.
Keats1 House 160.
Laocoon 355. Hi.
Lateran, the 305.
Lending Libraries 142.
Leonardo da Vinci's

Madonna 368.

Lex Regia of Vespa-
sian 246.

Libraries 146.

Liceo Ennio Quirino
Visconti 20i.

Lieux d'Aisance 140.

Livia, House of 277.

Longara, see Lungara

S. Lorenzo in Damaso
226.

— fuori le Mura 184.

Ixi. lxii.

— in Lucina 198.

— in Miranda 263.

— in Panisperna 180.

— in Piscibus 318-

S. Luigi de'Francesi 220.
Lungara 36S.
Lungaretta 374.
Lungo Tevere Tibaldi

230.
Lupercal, the (grotto)

282.
Macellum Magnum 298.
Madama Lucrezia 203.

ROME:

Msecenas, Gardens of
182.

— Auditorium of 182.
Magazzino Archeolog-

ico 294.
Maltese Villa 288.
Mamertine Prison 271.
Maps 142.
S. Marcello 201.
S. Marco 202. Ixi.
Marcus Aurelius, Col

umn of 200.
— , Statue of 238. Hv.
Marforio, Statue of 244
Margherita, Passeggiata

379.
S.Maria degliAngelil67.

— deir Anima 221.

— Antiqua 260.

— in Aracceli 235.

— Aventina 287.

— Bocca della Verita
283.

— in Campitelli 231.

— de Capitolio 235.

— dei Caipuccini 162.

— della Concezione 162.

— in Cosmedin 283.

lxiii.

— in Domnica 297.

— Egiziaca 285.

— di Grottapinta 228.

— di Loreto 275.

— Maggiore 180. Ixi.

lxii. lxiii.

— ad Martyres 216.

— Mater Dei 180.

— sopra Minerva 218.

— de' Miracoli 157.

— di Monserrato 229.

— in Monte Santo 157.

— della Morte 229.

— della Navicella 297.

— ad Nives 180.

— Nova 264.

— Nuova 396.

— dell' Orto 376.

— della Pace 222.

— della Pieta in Campo
Santo 329.

— del Popolo 156. lxv.

— ad Preesepe 180.

— del Priorato 287.

— Rotonda 216.

— della Scala 375.

— Scala Cceli 399.

— del Sole 285.

— • Traspontina 317.

— in Trastevere 374.

— in Vallicella 227.

— in Via 200.

— in Via Lata 201.

ROME:

S. Maria della Vittoria

165.
Marius, Trophies of

237.
Marmorata, the 288.
Marrana, the 291.
SS. Martina eLuca 272.
S. Martino ai Monti

183.
Mascherone deiFarnesi

230.
Mausoleum of Augustus

198.

— of Hadrian 314.
Meleager, Statue of

356.
Meta Sudans 266.
Michael Angela (lxvi-

lxviii).

Carthusian Convent
167. 171.

Christ bearing the
Cross 219.

Frescoes in the Cap-
pella Paolina 335.

Frescoes in the Sis-
tine Chapel 332.

S. Giov. de' Fioren-
tini 228.

in Laterano 304.

Last Judgment 334.

S. Maria degli Angeli
167.

Monument of Ju-
lius II. 189.

— of Moses 189.

Pal. Farnese 229.

Pedestal of the Marc.
Aur. statue 238.

St. Peter's 320.

Piazza del Campido-
glio 237.

Pieta 324.

— , unfinished 198.

Prophets and Sibyls
333.
S. Mich'ele, Osp. 376.

— in Sassia 318.
Milliarium Aureum255.
Minerva Medica,

Temple of 185.
Ministers' offices :
Agriculture 161.
Education 219.
Exterior 178.
Finance 165.
Interior 225.
Marine 214.
Posts and Telegraphy
203. e y

Public Works 199.
War 164.

464

INDEX.

ROME:
Moles Hadrian! 314.
Molossian Hounds 355.
Mons Sacer 389.
Monte Caprino 235. 249.

— Citorio 215.

— Malo 385.

— Mario 385.

— di Pieta 230.

— Testaccio 288.
Monuments :

Cairoli 158.

Carlo Alberto 177.

Cavour 316.

Cola di Rienzo 237.

Cossa 231.

Eurysaces 186.

Galilei 158.

Garibaldi 379.

Giord. Bruno 228.

Mamiani 227.

Marc Aurel 238. liv.

Metastasio 199.

Minghetti 225.

O'Cunnell 177.

Sella 165.

Spaventa 165.

Spedalieri 224.

Victor Emmanuel II.
158. 237.
Mosaico, Studio del 367.
Museo Agrario 165.

— Artistico-Industriale
161.

— Barraeco 228.

— Boncompagni 172.

— Borgiano 160.

— dei Gessi 28S.

— Kircheriano 201.

— NazionaledelleTer-

me Diocleziane 167.

— Profano 308.

— Torlonia 373.
Museums, see Capitol,

Lateran, Vatican.
Music 142.
Navicella (Giotto's)

321.
— , Piazza della 297.
SS. Nereo ed Achilleo

292. lxi.
Nero, Buildings and

Statue of 266.
Newspapers 148.
S. Niccolo daTolentino

164.
S. NicolainCarcere233.
Nile, Group of the 360.

li.
Niobe, Daughter of

358.
Nome di Maria 275.
Nymphseum 279.

ROME:

Obelisks 156. 158. 159.

177. 180. 215. 218.

302. 318.
Observatory 207.
Octavia, Colonnade of

232.
October Festival 147.
Oculists 140.
Omnibuses, see Appx.
S. Onofrio (Lungara)

368.

— (Monte Mario) 385.
Oratorio di S. Filippo

Neri 227.
Orientation 149.
Orti Farnesiani 276.
Ospedale di S. Spirito

317.
Ospizio di S. Michele

376.
Osterie 138.
Packers 141.
Peedagogiuni 281.
Painters 141.
Palatine 275. 154.

Area Palatina 278.

Basilica 279.

Buildings of Tibe-
rius 277.

— of Sept. Severus
281.

Excavations 276.
Farnese Gardens 276.
Flavian Palace 278.
Lupercal 282.
Paedagogium 281.
Palatium 278.
Septizonium 276.
Stadium 280.
Temple of Jupiter
Victor 280.

— of the Magna Mater
278.

Palazzetto Borghese

213.
Palazzo Albani 164.

— Altemps 214.

— Altieri 223.

— Antonelli 176.

— Ascarelli 231.

— Barberini 163.

— Bernini 198.

— Bolognetti 224.

— Bonaparte 201.

— Boncompagni-Piom-
bino 163.

— Borghese 213.

— Borromeo 203.

— Braschi 225.

— Caffarelli 235.

— della Cancelleria 226.

— Capranica 225.

ROME:

Palazzo Cenci - Bolog-
netti 232.

— Chigi 199.

— Colonna 210.

— of the Conservatori
238.

— deiConvertendi317.

— Corsini 370.

— Doria 207.

— Falconieri 230.

— Farnese 229.

— Fiano 199.

— Field-Brancaccio
182

— Gabrielli 226.

— Galitzin 213.

— Giraud - Torlonia
317.

— Giustiniani 220.

— delGovernoVeccbio
226.

— Grazioli 223.

— Hiiffer 176.

— Lancellotti 214.

— del Laterano 305.

— Linotte 225.

— Madama 220.

— Margherita 163.

— Marignoli 199.

— Massimi alle Co-
lonne 225.

— Mattei 231.

— Muti-Papazzurri
177.

— Odescalchi 201.

— del S. Offizio 320.

— Orsini 233.

— Pamphlli 221.

— dei Penitenzieri 317.

— Pio 228.

— Poli 161.

— Regio 178.^

— Ricciardi 317.

— Righetti 228.

— Rinuccini 201.

— Rondanini 198.

— Rospigliosi 178.

— Ruspoli 198.

— Sacchetti 230.

— Salviati 201. 368.

— Sciarra-Colonna 2C0.

— del Senato 220.

— del Senatore 238.

— Sforza-Cesarini 227.

— Simonetti 201.

— Sora 227.

— Spada alia Regola
229.

— di Spagna 160.

— Torlonia 199. 202.

— Vaticano 329.

— Venezia 202. lxiv.

INDEX.

465

ROME :

Palazzo Verospi 199.

— Vidoni 224.

S. Pancrazio 379.
S. Pantaleo 225.
Pantheon 216. lvii.
S. Paolo Fuori le Mura
397. lxii.

— alle Tre Fontane 399.
Parioli, Monte and

Viale dei 3S3.
Pasquino, the 225.
Passeggiata Margherita

379.
Passionist Monastery

297.
Patriarchal Churches,

the xxxv.
S. Paul, Ch. of 174.
Pensions 135.
St. Peter's 319.
Philippine Convent227
Phocas, Column of 256.
Photographs 142.
Physicians 139.
Piazza S. Apollinare

214.

— di SS. Apostoli 210.

— Aracceli 235.

— Barberini 162.

— Benedetto Cairoli
231.

— Bocca della Verita
283.

— delCampidoglio237.

— Campitelli 231.

— Campo di Fiore 223.

— della Cancelleria
226.

— Capo di Ferro 229.

— Capranica 216.

— dei Cinquecento 166.

— di S. Claudio 199.

— Colonna 200.

— dell' Esquilino 180.

— S. Eustachio 219.

— Farnese 229.

— del Foro Trajano
274.

— di S. Giovanni in
Laterano 302.

— Guglielmo Pepe 185.

— Magnanapoli 176.

— S. Marco 202.

— S. Maria Maggiore
180.

— Mignanelli 160.

— della Minerva 218.

— Montanara 233.

— di Monte Citorio 215.

— della Navicella 297.

— Navona 220.

— dell' Orologio 226.

ROME:

Piazza del Pantheon
215.

— de' Pellegrini 230.

— Pia 316.

— di Pietra 200.

— di S. Pietro 318.

— del Popolo 156.

— di Porta S. Gio-
vanni 811.

— del Quirinale 177.

— della Eotonda 215.

— Rusticucci 317.

— di S. Silvestro 199.

— di Spagna 160.

— Tartaruga 231.

— delleTermefdiTer
mini) 166. 174.

— della Trinita 159.

— di Venezia 201.

— Vitt. Emanuele 183.
S. Pietro in Carcere 272.

— e Marcellino 391.

— in Montorio 377.

— in Vaticano 319.

— in Vincoli 188.
Pincio, the 158.
Pliny's Doves 24S.
Police Office 133.
Policlinica 166.
Pons jElius 313.

— jEmilius 285.

— Cestius 234.

— Gratianns 234.

— Milvins 383.

— Sublicius 373.

— Valentiniani 373.
Ponte S. Angelo 313.

— S. Bartolomeo 234

— Civour 213.

— Cestio 234.

— Emilio 285.

— Fabricio 233.

— ai Fiorentini 228.

— Garibaldi 373. 374.

— Margherita 156.

— Molle 383.

— Nomentano 389.

— Palatino 285.

— de' Quattro Capi 233.

— Rotto 285.

— Salario 388.

— Sisto 373.

— Umberto 213.

— Vitt. Emanuele 314.
Popes, List of xxxix.
Popular Festivals 147
Population 153.
Porta Appia 294.

— Asinaria 311.

— Aurelia 379.

— Capena 291.

— Furba 392.

Baedekeh. Central Italy. 14th Edit.

ROME:

Porta S. Giovanni 311,

— Latina 293.

— S. Lorenzo 183.

— Magica 183.

— Maggiore 185. 390.

— Nomentana 165.

— Ostiensis 290.

— S. Pancrazio 379.

— S. Paolo 290.

— Pia 165.

— Pinciana 163.

— del Popolo 156.

— Portese 377.

— Salaria 385.

— S. Sebastiano 294.

— Settimiana 373.

— S. Spirito 368.

— Tibnrtina 183.
Porters 139.
Porticus (Colonnade)

of Octavia 232.

— Pompeiana 228.

— of the Twelve Gods
253.

Post Office 138. 199.
Prseneste, Treasure of

204.
S. Prassede 187. lxi.
Prati di Castello 316.

— del Popolo Romano
288.

Prehistoric Museum

204.
S. Prisca 290.
Prison 271.
Private Apartments

136.
Propaganda 160.
Protestant Cemetery

289.

— Churches 146.
Protomoteca 241.
Provision Dealers 137.
S. Pudenziana 179. lxi.
Pyramid of Cestius 289.
SS. Quattro Coronati

301.
Quattro Fontane 164.
Questura 133.
Quirinal, the 153.
— , Pal. of 178.
Race Course 3?4.
Railway Office 133.

— Station 166.
Raphael (lxviii-lxxii):

Bible of R. 343.
Chigi Chapel 157.
S. Eligio 230.
Entombment 194.
Faith, Hope, and

Charity 344.
Fornarina 164. 194.

466

INDEX.

ROME:

Frescoes in the Far-

nesina 369.
Galatea 370.
Logge (Vatican) 342.
Madonna di Foligno

344.
Navagero and Beaz-

zano 209.
St. Peter's 320.
Prophet Isaiah 214.
Sibyls 222.
Raphael's Stanze
(Vatican) 335.

— Tapestry 346. lxx.

— House 215. 317.

— Frescoes from the
Villa 190.

— Tomb 217.

— Transfiguration 345.

— Villa 190.
Reading Rooms 142.
Regia 261.
Restaurants 136.
Rienzi's House 285.
Rione Monti 155.
Ripa Grande 376.
Ripetta, the 213.

S. Rocco 213.

Roma Quadrata 276.

282.
Roma Vecchia 396.
Romulus, Grave of

257.
Rostra 255.

— Julia 259.
Rotonda, La 216.
Round Temple 285.
Rupe Tarpeia 249.
S. Saba 290.

S. Sabina 286. lxi. lxii.
Sacra Via 254.
Ssepta Julia 201.
Sallust, Gardens of 163.
S. Salvatore in Lauro

215.
Sancta Sanctorum,

chapel 311.
Sapienza, Universita

della 219.
Sarcophagi, ancient liv.
— , early Christian 309,
Saturn, Temple of 255.
Satyr of Myron 307.

— of Praxiteles 246.
Savings Bank 201.
Scala Santa 311.

— di Spagna 160.
Scipios , Tomb of the

293.
Scott, House of Walter

199.
Sculptors 141.

ROME:

S. Sebastiano 394.

— alia Polveriera 265.
Semenzaio iComunale

291.
Septa Julia 201.
Septimius Severus,

Palace of 281.
Septizonium 276.
Servius, Wall of 166.

176. 182. 280.
Sessorium 186.
Sette Sale 188.
Seven Churches of

Rome, the xxxv.
Shelley's House 199.

— Tomb 289.
Shops 141.
Sick Nurses 140.

S. Silvestro in Capite
199.

— al Quirinale 179.
Sistine Chapel 331.1xiv.
S. Sisto 292.
Slaughter Houses 288.
Sophocles , Statue of

307.
Spagna, Seala di 160 :
Spanish Church 229.
S. Spirito, Ospedale

di 317.
S. Spirito in Sassia318.
Sport 147.
Stadium (Circus) of

Domitian 220-

— of Septimius Se-
vern? 280.

Statues, see Monu-
ments.

S. Stefano delle Car-
rozze 285.

— Rotondo 298.
Strangers' Quarter 155.
Street Scenes 148.
Studios 141.

S. Susanna 165.
Synagogue 232.
Tabernse Veteres and

Novse 250.
Tabularium 249.
Tarpeian Rock 249.
Teatro Argentina 231.

— Drammatico 177.
Telegraph Office 139.

199.
Tempietto 377.
Temple of Augustus

261.

— of Caesar 259.

— of Castor and
Pollux 259.

— of Concordia 254.

— of Cybele 278.

ROME:
Temple of the Deus
Rediculus 393.

— of Faustina 263.

— of Fortune 285.

— of Isis 203.

— of Juno Moneta 234.

— of Juno Sospita 233.

— of Jupiter Capitol-
inns 234.

— of Jupiter Victor 280.

— of Magna Mater 278.

— of Mars Ultor 273.

— of Mater Matuta 285.

— of Minerva Medica
185.

— of Neptune 200.

— of the Sacra Urbs
264.

— of Saturn 255.

— of Spes 233.

— of Venus Genetrix
273.

— of Venus and Roma
265.

— of Vespasian 253.

— of Vesta 261.
Templum Sacrte Urbis

264.
S. Te'odoro 282.
Testaccio, Monte 288.
Theatres 147.
Theatre of Marcellus

232

— of Pompey 228.
Thermae of Agrippa 218.

— Antoninianse 291.

— of Caracalla 291.

— of Constantine 177.

— of Diocletian 166.

— of Titus 270.

— of Trajan 271.
Thorn Extractor 242.
Tiber, river 153.

— , Island of the 233.
Tiberius, Palace of 277.
Time-Ball 203.
Titian:

Amor Sagro e Profano
195.

St. Dominic 196.
Tiro Nazionale 384.
Tobacco Manufactury

138.
Tomb of Bibulus 202.

— of Csecilia Metella
395.

— of Hadrian 314.

— of the Empress
Helena 391.

— ofthePancratii391.

— of the Scipios 293.

— of St. Urbanus 396.

INDEX.

467

ROME:

Tomb of theValerii391.
S. Tommaso di Cante
bury or

— degli Inglesi 229.

— in Formis 297.
Topography 153.
Tor de' Conti 273.

— di Quinto 384.
Torlonia, Museo 371.
Torre degli Anguillara

374.

— Cantarelli 188.

— dei Capocci 188.

— delle Milizie 176.

— di Nerone 176.

— della Scimia~;214.
Trajan's Column 275.

— Forum 274.
Tramways, see Appx.
Trastevere 373.
Trattorie 137.

Tre Fontane 399.
Tribunale Civile e Cor
rezionale 227.

— di Commercio 227.
Triclinium of Leo III.

311.

S. Trinita de' Monti
159.

— de' Pellegrini 230.
Trinity, Ch. of the 199,
Triumphal Arches, see

Arch.
Trofei di Mario 183.

237.
Tullianum 271.
Umbilicus Urbis RomEe

255.
Universita della Sa-

pienza 219.
Universitas Gregoriana

203.
S. Urbano 394.
Ustrinum 215. 396.
Vatican, the 329.

Antiquities 348.

AppartamentoBorgia
347.

Arazzi, Galleria degli
316.

Archives 364.

Assyrian Antiquities
361.

Belvedere , Cortile
del 355.

— , Vestibule of the
356.

Boscareccio 349.

Braccio Nuovo 359.

Bronzes 363.

Candelabri, Galleria
dei 350.

ROME:

Cappella di Nicco
16 V. 342.

— Paolina 334.

— Sistina 331.
Casino del Papa 349
Cortile del Belvedere

355.

— di S. Damaso 330

— delle Logge 330.
Egyptian Museum

360.
Etruscan Museum

361.
Gabinetto delle Mas-

chere 355.
Galleria degli Arazzi

346.

— dei Candelabri350.

— Geografica 347.

— Lapidaria 359.

— delle Statue 353.
Garden 349.
Giardino della Pigna

357.

Hall of the Busts
354.

Library 364.

Mich. Angelo's Fres-
coes 332. 335.

Museo Chiaramonti
357.

— Etrusco-Grego-
riano 361.

— Pio-Clementino
349.

Museum of Christian
Antiquities 366.

Pauline Chapel 334.

Picture Gallery 344

Portone di Bronzo
330.

Raphael's Logge 342

— Stanze 335.

— Tapestry 346. lxx
Sala degli Animali

353.

— della Biga 350.

— dei Busti 354.

— diCostantino34l.

— a Croce Greca
349.

— Ducale 334.

— dell' Immacolata
335

— deile Muse 352.

— Regia 330.

— Rotonda 351.
Scala Pia 329.

— Regia 330.
Sistine Chapel 331.
Stanza d'Eliodoro

340.

ROUE:

Stanza dell' Incendio
336.

— de' Papiri 366.

— della Segnatura
336.

Tomb Paintings 364-

Torre Borgia 329.

Vases, Collection of
362.
Vatican Hill 312.
Velabrum 282.
Velazquez's Innocent

X. 207.
Velia 263.
Venus after Praxiteles

249. 349.
Vesta, Temple of 261.
Vestal Virgins, Palace

of the 262.
Via Agostino Depretis

179.

— Anieia 376.

— Appia 291.

— Aracoeli 203.

— del Babuino 157.

— de' Banchi Vecchi
229.

— de; Baullari5225.

— Bocca della Verita
233.

— Bonella 272.

— Carlo Alberto 182.

— Cavour 188.

— de' Cerchi 286.

— del Clementino 213.

— de' Condotti 212.

— Conte Verde 185.

— de' Coronari 214.

— della Croce Bianca
274.

— della Dataria 178.

— de' Due Macelli 160.

— Em. Filiberto 185.

— Flaminia 117. 383.

— Fontanella di Borg-
hese 213.

— Galvani 28S.

— Garibaldi 377.

— Giovanni Lanza 188.

— di S. Giovanni in
Laterano 299.

— Giulia 230.

— del GovernoVecchio
226.

— Gregoriana 159.

— di S. Gregorio 294.

— Labicana 186.

— Lata 197.

— Latina 293.

— della Lungara 368.

— Lungarina-374.

— di Marforio 271.

30*

468

INDEX.

ROME:

Via Margutta 157.

— della Marmorata 288.

— S. Martino ai Monti
187.

— Merulana 182.

— di Monserrato 229.

— del Nazareno 161.

— Nazionale 174.

— de' Pettinari 230.

— della Pilotta 177.

— del Plebiscite 201.
223.

— di Porta S. Seba-
stiano 291.

— Preenestinal86.390.

— Principe Bugenio
185.

— di Propaganda 160.

— Quattro Fontane
163.

— del Quirinale 177.

— di Ripetta 157.

— Sacra 251.

— della Salara 286.

— della Scrofa 214.

— Sistina 162. 159.

— dello Statute 187.

— di S. Stefano 298.

— S. Teodoro 282.

— di Tor Argentina
230.

— delle Tre Pile 235.

— del Tritone 161.

— Triumphalis 269.

— de' Vascellari 375.

— Veneto 163.

— Venti Settembre
164.

Viale di Porta S. Paolo
29J.

— Principessa Marghe-
rita 185.

Victor Emmanuel,
Mon. of 158. 237.
— , Tomb of 217.
Vicus Tuscus 261. 282,
Villa Albani 385.

— Aldobrandini 176.

— Borghese 190.

— Campanari 311.

— Celimontana 298.

— Colonna 212.

— Doi'ia-Pamphili379.

— Farncsina 368-

— Lante 379.

— Ludovisi 163.

— Madama 364.

— Magistrale (Maltese)
288.

— Malta 162.

— Massimi 305.

— Mattei 298.

ROME:
Villa Medici 159.

— Mellini 385.

— di Papa Giulio 196.

— Spada 388.

— Torlonia 388.

— Umberto Primo
190.

— Wolkonsky 311.
Viminal 153.

SS. Vincenzo ed
Anastasio 161. 399.

S. Vitale 174.

S. Vito 182.

Waldensian Church
177.

War Office 164.

Wine-shops 137.

Zeus of Otricoli 352.

Ronciglione 102.
Ronco, the 106. 108.
Rosaro 70.
Rosia 38.
Rosignano 3.
Rosso, Monte 126.
Roviano 426.
Rubicon, the 109.
Ruffinella, Villa 409.
Rusciano 117.
Rusellse 4.

Sabate 104.

Sabina, the 96.

Sabine Mountains, the 417,

Sacco 443.

Sacra, Isola 435.

Sacraria 78.

Salone 418.

S. Salvatore, Abbey 12.

Sanguineto 54.

San Sepolcro 54.

Sapis 108.

Saracinesco 426.

Sarteano 88.

Sasso 10.

Sassoferrato 127.

Sassovivo, Abbadia di

77.
Saturnia 5.
Savignano 109.
Savio, river 108.
Saxa Rubra 384.
Scheggia 117.
Schiantapetto 4.
S. Scolastica 427.
Scopetone, the 54.
S. Secondo 56.
Segni 441.
Selagite, Mt. 13.
Selci Lama 55.
Sena Gallica 118.
Senigallia 118.

Senio, river 105.
Sentinum 127.
S. Sepolcro 54.
Septempeda 125.
Sermoneta 444.
Serpentara 431.
Serra S. Abbondio 127.

— Partucci 5T.

— S. Quirico 126.
Setia 445.
Settecamini 419.
S. Severa 9.

S. Severino Marche 125.
Sevo, Pizzo di 82.
Sezze 445.
Sibillini, Monti 82.
Siena 19.

Accademia delle Belle
Arti 33.

S. Agostino 30.

Archives 31.

Banca d'ltalia 29.

Bandini, Statue of 22.

S. Barbera, Fort 36.

S. Bernardino, Ora-
torio di 33.

Biblioteca Comun. 35.

Botanic Garden 30.

Campansi, Monast. 36.

Cappella di Piazza 24.

Carmine 30.

Casa di S. Caterina 35.

Casino de1 Nobili S3.

Cathedral 25.

Cimitero della Miseri-
cordia 30.

SS. Concezione 32.

S. Cristofano 23.

S. Domenico 36.

Fontebranda 35.

Fontegiusta 37.

Fonte di Follonica 31.

— Gaia 25.

— Ovile 37.

— de Pantaneto 31.

— de' Pispini 32.
S. Francesco 32.
Garibaldi , Monument

of 36.

S. Giorgio 31.

S. Giovanni 25.

S. Girolamo 32.

House of St. Catharine
35.

Library of the Cathe-
dral 27.

Lizza, La 36-

Loggia del Papa 31.

L'Osservanza 37.

Madonna d. Angeli 32.

Mangia, Torre del 23-

S. Maria del Carmine
30.

INDEX.

469

Siena :
S. Maria delle Nevi 22.

— di Provenzano 32.

— della Scala 29.
S. Martino 31.
Metropolitana, Chiesa

25.
Opera del Duomo 28.
Osservanza 37.
Palazzo Arcivescovile

25.

— Bichi 23.

— Buonsignori 29.

— Chigi (now Picco
lomini) 29.

— dei Diavoli 37.

— Finetti 30.

— Gori 23.

— del Governo 30.

— Grottanelli 29.

— del Magniflco 25.

— Marescotti 29.

— Marsili 29.

— Nerucci 29.

— Palmieri 23.
Pecci 29.

— Piccolomini 30. 29.

— Pollini 30.

— Pubblico 23.

— Eeale 29.

— Salimbetii 22.

— Sansedoni 23.

— Saracini 29.

— Spannocchi 23.

— Tolomei 23.

— del Turco 37.
Peruzzi, House of 37.
Piazza del Campo (Vit-

torio Emanuele) 23.

— di S. Francesco 32.

— Giordano Bruno 29.

— del Mercato 25.
S. Pietro alia Mag

gione 37.

alle Scale 29.

Pinacoteca 33.
Porta Camollia 37.

— S. Marco 30.

— Ovile 37.

— Pispini 32.

— Romana 32.
Regie Scuole 29.
S. Sebasliano 30.
Servi di Maria 32.
S. Spirito 31.
Statue of Italia 23.

— of Bandini 22.
Tolomei, Collegio 30.
University 31.
S. Vigilio 32.
Wood Carving 21.

Sieve, river 44.
Sigillo 117.

Signa 15.
Signia 441.
S. Silvestro 96.
Simbruina stagna 426.
Sinalunga 41.
Sinigaglia 118.
Sinnius 105.
Sipicciano 97.
Sirolo 121.
Sonnino 446.
Soracte, Mt. 96.
Sorrina 98.
Sovana 5.
Spello 75.
Spoletium 78.
Spoleto 78.
Staggia 18.
S. Stefano, Grotte 97.

Porto 5.
Sticciano 41.
Stieli 94.
Stimigliano 96.
Storta, La 432. 104.
Straeciacappa 103.
Stroncone 84.
Suana 5.

Subasio, Monte 75.
Subiaco 426.
Sublaquenm 426.
Sutri 102.
Sutrium 102.

Tadinum 126.
Talamone 5.
Tarquinii 7.
Tarracina 446.
Telamon 5.
Terni 82.
Terontola 53.
Terracina 446.
Teverone, river 418. 419.
Tiber , river 54. 86. 94.

97. etc.
— , Source of the 55.
Tibnr 422.

Tifernum Tiberinum 55.
Tivoli 422.
Todi 69.
Tolentino 125.
Tolentinnm Picenum

125.
Tolfa 8.
Tomba di Nerone 384

— dei Pancratii 391.
dei Valerii 391.

Topina, Val 126.
Topino, the 75.
Tor Paterno 438.

— di Quinto 384.
Sapienza 390.
de' Schiavi 390.

— di Selce 39fi.

Torraccio 396.
Torre Boacciana 435.

— Cbiaruccia 9.

— Maggiore, Monte 70.

— Pignattara 391.
Torrenieri 40.

Torri (Val di Merse) 38.

Torrita 41.

Toscanella 101.

Trasimeno, Lago 53.

Treba 428.

Trebise 77.

Tre Fontane 399.

Trestina 56.

Trevi 77.

— , Monte 445.

— nel Lazio 428.
Trevignano 104.
Triponzo 82.
Trojaccia, island 4.
Tuder 69.
Tuficum 126.
Tuoro 54.
Turchina 7.
Tuscana 101.
Tusculana, Villa 409.
Tusculum 409.

Uccelina, Monti dell' 4.
Ufens 445.
Uffente 445.
Umbertide 56.
Urbania 127.
S. Urbano 394.
Urbibentum 89.
Urbino 127.
— , Monte 69.
Urbisaglia 124.
Urbs Salvia 124.

— Vetus 89.
Urgone, the 109.
Urvinum Metaurense

128.
Uso, river 109.

Vaccarreccia, Tumulus

of 433.
Vada 3.

Vagnolini, Vigna 394.
Valchetta, the 384.
Val d'Elsa 15.

— di Pussino 384.

— Topina 126.
Valle Aricciana 441.

— d' Inferno 385.
Vallepietra 428.
Vallombrosa 44.
Valmontone 414.
Valpiana 4.
Valvisciolo, Abbey of

444.
Varano 121.
Varia 425.

470

INDEX.

Vasciano 94
Veii 432.
Velathri 10.
Velino, river 84.
Velitrse 442.
Velletri 442.
Vene, Le 78.
Venare, Monte 101.
Verano, Mte. 104.
Veruccnio 112.
Vespasiae 82.
Vetralla 102.
Vettore, Monte 82.
Vetulonia 4.
Via .(Emilia 105.

— Appia 393. 445.
Nuova 391.

— Aurelia 2. 8. 380.

— Casilina 391.

— Cassia 383. 98.

— Collatina 390.

— Flaminia 117.333.433,

— LaMcana 391.

— Latina 391.

— Laurentina 399.

— Nomentana 388.

— Ostiensis 399. 438.

— Prsenestina 390.

Via Salaria 385. 97.

— Titrartina 419.

— Triumphalis 417.

— Tuscolana 391.

— Valeria 425.
Vicarello 104.
Vico, Lago di 101.
Vicovaro 425.

Vicus Augustanus 433.
Vignoni, Bagni di 41.
Villa Adriana 420.

— Albani 385.

— Aldobrandini 408.
Barberini 412.

— Belrespiro 380.
of Cicero 409.
Conti 403.

— d'Este 424.

— Falconieri 410.

— ad Gallinas 384.

— of the Gordiani 390.

— of Hadrian 420.

— of Horace 424.

— Imperiale 115.
Inghirami 13.
Lante 100.
of Livia 384.
of Maecenas 424.

Villa S. Mezzano 44
Mondragone 410.

— Piccolomini 408.

— Ruffinella 409.

— Sanmezzano 44.

— Spada 388.

— Torlonia 435.

— Tusculana 409.
Ville Montercbi 54
S. Vincenzo 3.

SS. Vincenzo ed Ana-

stasio 399. 161.
Visentum 98.
Visso 82.

Vite, Capo della 14.
Viterbo 93.
S. Vito 94.

— Romano 425.
S. Vittorino 82.
Vivo 41.
Volaterrse 10.
Volscian Mountains 440.
Volsinii 89. 93.
Volterra 10.

Vulci 5.

Zagarolo 428.
Zolforeo, Lago 10.

Leipsic: Printed by Breitkopf & Hartel.

•ti

INDEX OF STREETS

AND

PLANS OF ROME

Contents

3.
4.

6.
7.

Plan of the Tramway Lines of Rome (1 : 33,000).
List of the Tramway and Omnibus Lines.
Cab Tariff.

Plan of Rome, showing the main portions
of the city (1 : 33,000).

List of the principal streets, public build-
ings, etc.', of Rome.
Large Plan of Rome, in three sections (1: 11,400).
Central Rome (1 : 8300).

■ .. SllBl

Geograph. Anstalt toti

"Wagner iirDeTie s,leipzig .

Tramway and Omnibus Routes.

a. Tramway Routes.

The Roman tramways are nearly all electric, only three routes of the
present list (Nos. 12-14) being served by horse-cars. The names of the termini
are in each case inscribed on the cars, and the vehicles on the various
routes are distinguished by shields of different colours. Fares 5-25 c. The
cars begin to ply about 7 or 8 a.m. and cease about 10 p.m. (main routes
about midnight). The service beyond the gates ceases at an earlier hour.

1. Piazza Venezia - Piazza San Silvestro via the Railway Station
(white shield with red circle; every 4 min.). From the Piazza Venezia
(PI. II, 17) by the Via Nazionale, Trajan's Forum, Via Alessandrina , Via
Cavour, Piazza delV Esquilino , beside Santa Maria Maggiore (PI. II, 27),
Railway Station (PI. I, 27), Via Volturno, Via Cernaia, Via Gorto, Via
Venti Settembre, Via Quinlino Sella (PI. 1, 26), Via Boncampagni, Via Ludovisi,
Via di Porta Pinciana, Via Capo le Case, and Via della Mercede, to the
Piazza San Silvestro (PI. I, 18).

2. Porta Pia- Piazza Venezia -Piazza del Popolo (white shield with
green triangle; every 10 min.). From the Porta Pia (PI. I, 29), by the
Via Venti Setttmbre, Via Pastrengo, Via Cernaia, Piazza delle] Terme
(PI. I, 27), and Via Nazionale to the Piazza Venezia (PI. II, 17); thence
by the Via del Plebiscito, Corso Vittorio Emanuele, Via de' Cestari, Piazza
della Minerva. Piazza della Rotonda (Pantheon, PI. II, 18), Via Giustiniani,
Piazza San Luigi de' Francesi, Via Scrofa, and Via di Ripelta (PI. I, 15, 14),
to the Piazza del Popolo (PI. I, 14, 13). — Return, like the cars of line 1
under No. 8, from the Piazza Minerva to the Piazza Venezia via the Piazza
del Collegio Romano and Piazza Grazioli. — Connection from the Piazza
del Popolo to the Ponte Molle, see No. 14.

3. Piazza Venezia - San Giovanni in Laterano (red and white shield ;
every 5 min.). As in Route 1 to Via Cavour, then by the Via Giovanni
Lanza to the Palazzo Field - Brancaccio (PI. II, 26), and Via Merulana to
the Piazza di Porta San Giovanni (PI. Ill, 28).

4. Piazza Venezia -San Paolo fuori le Mura (red and blue shield;
every 7 min.). As in Route 1 to Via Alessandrina, then by the Via Bonella,
Forum Romanum (PI. II, 19), Via della Consolazione, Via San Giovanni
Decollato, Piazza Bocca della Verita (PI. II, 16), Via della Salara, Via della
Marmorata (Monte Testaccio, PI. Ill, 18), Porta San Paolo (PI. Ill, 18), and
Via Ostiense, to San Paolo fcoki le Muka.

5. Piazza San Silvestro -Sant' Agnese fuori le Mura (green and white
shield; every 10 min.). From the Piazza San Silvestro (PI. I, 18) as in
Route 1 (reversed) to Via Venti Settembre, then by the Via Venti Settembre
to the Porta Pia (PI. I, 29) and thence by the Via Nomentana to Sant'
Agnese fdori le Mura.

6. St. Peter's -Piazza Venezia -Railway Station (white shield with red
bar; every 5 min.). From St. Peter's (PI. I, 6) by toe Corso Vitt. Emanuele
to the Piazza Venezia (PI. II, 17) ; thence up the Via Nazionale to the
Piazza delle Terme (PI. I, 27) and the Railway Station (PI. I, 27).

7. Railway Station -St. Peter's (white shield with two red bars and
blue ilag; every 10 min). From the Railway Station (Dogana; PI. I, 27)
by the Via Nazionale, Via Milano, Quirinal Tunnel (PI. II, 24-1, 21), Via
Due MacelH, to the Piazza di Spagna (PI. 1, 17, 18); thence by the Via del
Babuino, Piazza del Popolo (PI. I, 17, 16), Ponte Margherita, Piazza and
Via Cola di Rienzo, and through the Porta Angelica to St. Peter's (PI. I. 6).

Baedeker. Central Italy. 14th Edition. i

2 TRAMWAY ROUTES.

8. Piazza Venezia-St. Peter's (white shield with red cross ; every 5 min.).
From the Piazza Venezia (PI. II, 17) through the Via del Plebiscite, Corso
Vittorio Emanuele, over the temporary bridge beside the Ponle Sanf Angela
(PI. I, 12), and through the Borgo Vecchio to the Piazza San Pietko in
Vaticano (PI. I, 6 ; fare 10 c). — Return by the Via del Colonnato, Via di
Porta Angelica, ' Piazza del Besorgimento, Via and Piazza Cola di Rienzo
(PI. I 8 11), Via Lucrezio Caro, past the Palazzo della Giustizia, over the
Ponte' Umberto (PJ. I, 15), then by the Via Monte Brianzo, Via della Scrofa,
Piazza della Rotonda (Pantheon; PI. II, 18), Piazza della Minerva, Piazza
del Collegio Romano, Piazza Grazioli, Via degli Astalli, and Via del Plebis-
cite, to the Piazza Venezia (PI. II, 17).

Also in the reverse direction (white field with yellow cross): from the
Piazza Venezia by the Via del Plebiscite, Corso Vittorio Emanuele, and
Via de' Cestari to the Piazza della Minerva, etc. ; returning from St. Peter's
by the Borgo Nuovo ; round trip 20 c.

9. Piazza delle Terme-Piazza Venezia-Trastevere (white shield with
blue bar; every ID min.). From the Piazza delle Terme (PI. I, 27) by the
Via Nazionale to the Piazza Venezia (PI. II, 17); thence by the Via del
Plebiscito, the beginning of the Corso Vittorio Emanuele, Via di Torre
Argentina, Via Arenula, Ponte Garibaldi (PI. II, 13), and Viale del Re, to
the Stazione di Tkasteveke (railway-station ; PI. Ill, 11).

10. Piazza San Silvestro -Corso d'ltalia (white shield and white flag;
every 10 min.). From the Piazza San Silvestro (PI. I, 181 by the Via
delle Mercede, Via Due Macelli, the Quirinal Tunnel (PI. I, 21-11, 24), and
Via Nazionale, to the Piazza delle Terme (PI. I, 27)_; thence past the Railway
Station and by the Via Solferino, Piazza dell' Indipendenza, Via San Mar-
tino, and Viale del Castro Pretorio, to the Corso d'Italia (outside the
Porta Pia; PI. I, 29).

11. Piazza San Silvestro - Railway Station-Lateran (white field with
blue triangle; every 10 min.). From the Piazza San Silvestro to the
Via Venti Settembre as in No. 1 (reversed); then by the Via Pastrengo and
the Piazza delle Terme to the Railway Station (PI. I, II, 27) ; thence by
the Viale Principessa Margherita (next the arrival platform), the Via Gio-
berti, Piazza Santa Maria Maggiore , Via Carlo Alberto, Piazza Vittorio
Emanuele, Via Leopardi, Via Merulana, Via Manzoni, and Via Emanuele
Filiberti, to the Lateran (PI. Ill, 28).

12. Railway Station -Campo Verano (horse-cars; every 10 min.). From
the Railway Station (Dogana, PI. I, 27) by the Via di Porta San Lorenzo
to the Porta San Lorenzo (PI. II, 33; 10 c. ; station for steam -tramway to
Tivoli), and then by the Via Tiburtina to San Lorenzo fuori le Mtira and
the Campo Verano (PI. I, 36).

13. Piazza Vittorio Emanuele - Porta Maggiore (horse- cars; every
20 min.). From the Piazza Vittorio Emanuele (PI. II, 29) by the Via
Principe Eugenio and Via di Porta Maggiore to the Porta Maggiore
(PI. II. 34). This line is to be continued as an electric line from the
Piazza Vittorio Emanuele to the Railway Station (as No. 11).

14. Piazza del Popolo- Ponte Molle (horse-cars; every 1/4 hr.) by the
Via Flaminia

15. Porta San Giovanni (PI. Ill, 31)-Vicolo delle Cave (PI. II, 1, 2),
electric line, every 1/4 hr- (10 c).

Other lines are under construction from the Ponte Garibaldi (PI. II, 13;
Route 9) to the Piazza Bocca della Verita (PI. II, 16; R. 4) along the
bank of the Tiber; from the Via Nazionale (PI. II, 24; RR. 2, 6, 7, 9, 10)
to the Via Cavour (Piazza dell' Esquilino; PI. II, 27; R. 1), by the Via
Agostino Depretis, and farther on to 1he Via Giovanni Lanza (PI. It, 26;
K. 3), past Santa Maria Maggiore.

OMNIBUS ROUTES.

b. Omnibus Routes.

The omnibuses ply from about 8 a.m. to 8 or 9 p.m. The fares (10-
15 c.) are shown in the omnibuses, and a board at the back gives the
name of the terminus towards which the vehicle is running.

16. Piazza Venezia - Piazza del Popolo (every 5 min.). From the
Piazza Venezia (PI. II, 17) through the Corso Umbtrto Primo (but after 3 or
4 p.m. through the side-streets to the E. : the Piazza Santi Apostoli, Via
deir Umilta, Piazza di Trevi, Via della Stamperia, Via Due Macelli, Piazza
di Spagna, and Via del Babuino), to the Piazza del Popolo (PI. I, 13, 16).

17. Piazza della Cancelleria- Porta Salaria-Porta Pia (every 11 min.).
From the Piazza della Cancelleria (PI. II, 14) by the Piazza Navona (Circo
Agonale), Piazza Sant' Agostino, Piazza di Monte Citorio, Piazza Colonna
(PI. II, 18), Via del Tritone, Piazza Barberini (PI. I, 21, 24), Via San Niccolo
da Tolentino, and Via di Porta Salaria, to the Porta Salaria (PI. I, 25), and
thence by the Corso d'ltalia to the Porta Pia (PL I, 29).

18. Piazza San Pantaleo - Piazza San Giovanni in Laterano (every
J/4 hr.). From the Piazza San Pantaleo (PI. II, 15) by the Corso Vit-
torio Emanuele, Piazza Venezia, Piazza del Foro Trajano, Via Alessandrina,
Via del Colosseo, and Via San Giovanni, to San Giovanni in Laterano
(PI. Ill, 28).

19. Piazza Navona -Piazza Vittorio Emanuele (every 8 min.). From
the Piazza Navona (PI. II, 15) by the Piazza San Pantaleo, Piazza Venezia,
Foro Trajano, Via Urbana, Piazza Santa Maria Maggiore, Via Merulana, and
Via dello Statute, to the Piazza Vittorio Emanuele (PI. II, 29).

20. Piazza Mignanelli - St. Peter's (every 10 min.). From the Piazza
Mignanelli (PI. I, 21), adjoining the Piazza di Spagna, by the Via Frattina,
Corso Umberto Primo, Piazza Colonna, Piazza del Montecitono, Pon'.e
Sant' Angelo, and Borgo Vecchio (returning through the Borgo Nuovo), to
St. Peter's (PI. I, 9, 6).

21. Piazza Montanara - Piazza Cola di Rienzo (every 10 min.). From
the Piazza Montanara (PI. II, 16) by the Via Montanara, Piazza Aracoeli,
Piazza San Marco, Piaz?a Venezia, Corso Umberlo Primo, Via Fontanella
di Borghese, Ponte Cavour, Piazza Cavour, Via Lucrezia Caro, and Via
Cicerone, to the Piazza Cola di Rienzo (PI. I, 11). In the afternoon the
omnibuses run via the side-streets to the E. of the Corso.

22. Piazza Colonna -Piazza Vittorio Emanuele (every 6 min.). From
the Piazza Colonna (Pi. I, 18; near Bocconi's) by the Via del Tritone,
Piazza Barberini (PI. I, 21, 24), Via Quattro Fontane, Via Agostino Depretis,
Via Viminale, Via Principe Amedeo, Via Rattazzi, and Via Napoleone
Terzo, to the Piazza Vittorio Emandele (PI. II, 29).

23. Piazza del Gesu- St. Peter's (every 10 min.). From the Piazza
del Gesu (PI. II, 17) by the Piazza Benedetto Cairoli, Ponte Sisto, Via della
Lungara, and the Borgo Nuovo, to St. Peter's (PI. I, 6, 9).

Cab Tariff.

Night

140

190

Cabs ( Velture Pubbliche) in the principal piazzas.

Open Cat Closed Cab
Single Dkive (corsa ordinaria).
Within the city-walls ; + also to the Policlinico,

the Trastevere Railway Station, or the Tramway

Terminus outside the Porta San Lorenzo . .
Special Dbives (ccrse speciali).
To the Stazione San Pietro, the Vatican Museum,

the Janiculum, Porta San Pancrazio, the Aven-

tine, Porta San Sebastiano, Gampo Verano, Viale

delta Regina, the Pincio (as far as the Piazzale),

and also for a distance of 1/i kil. O/3 M.) outside

any of the gates |+

By Time (servizio ad ora). ttt

Within the city-walls, per hour

Within the city-walls, each 1/i hr. more ....
Outside the gates, to a distance of 3 kil. (2 M.),

and drives in the Pincio grounds, the Villa

Borghese, Viale del Parioli, or Passeggiata

Margherita, per hour

Outside the gates, each '/i ur- more — 75 — 75—75

The above tariff is for 1 or 2 pers. ; for each addit. pers. 25 c. is added
to the fare. — Large box 50 c, small box or portmanteau 25 c, hand-bags,
etc., free. — If a cab be brought from the stand to the hirer's house or
elsewhere, an addition of 25 c. is made to the fare. If the cab be dis-
missed without being used, a charge of 50 c. is made.

Sight is reckoned from 8 p.m. to 5 a.m. from April 1st to Sept. 30th,
and from 7 p.m. to 6 a.m. from Oct. 1st to March 31st.

Complaints should be lodged at the city police office (up the steps to
the left from the Piazza del Campidoglio).

Day
or night

1 —

150

2 25
— 55

3 —

— 75

Day

120

170

2 50
— 65

t With the following limitations: beyond the Tiber as far as the
Viale delle Milizie (PI. I, 4, 7, 10), the Piazza Santa Marta (PI. I, 6), the
Salita di Sant' Onofrio (PL II, 9), the Via Luciano Manara with the Via
Garibaldi (PI. Ill, 10); in the direction of the Aventine as far as the Via
della Greca (PI. Ill, 16); and in the direction of the Porta San Sebastiano
as far as the intersection of the Viale Aventino and the Via di San Gre-
gorio (PI. lit, 22).

tt For drives outside the Porta San Pancrazio and Porta San Sebast-
iano, special bargains must be made. In fact, owing to the difficulty of
knowing when the V2 kil. or 3 kil. limit \ as been reached, it is advisable
to make special agreements for all drives beyond the gates. When a cab
is dismissed within the 3 kil. limit from the Porta San Sebastiano and
returns to the city empty, the driver is entitled to a return-fare of 1 fr.
25 c. ; similarly a driver dismissed during an afternoon drive on the Pincio
receives 1 fr. extra.

++t One full hour at least must be paid for in all cases. From Maundy
Thursday to Easter Sunday inclusive the driver is entitled to 50 c. in ad-
dition to the ordinary fare.

Jiimiti clfUe f jutrti jtrinci^aU deila cUtk secomfo

"Wagner AD eb e s.Xeipzig .

la divisions adottata nella nostra, de&criziane .

List of the Principal Streets, Squares, Palaces, etc.

with Reference to the accompanying Plans.

The large Map of Rome is divided into three sections, of which
the uppermost (I) is coloured brown, the central (II) red, and the
lowest (III) gray. In the accompanying index the columns headed
I, II, III refer to these sections, the figures in the columns corre-
sponding to those in the respective sections thus indicated. Thus
Via Alfieri will be found on the II (red) section, square 28. The
numbering of the squares is so arranged that squares hearing the
same numbers in the different sections adjoin each other. Thus square
18 in the I (brown) section finds its continuation towards the S. in
square 18 in the II (red) section ; square 16 in the II (red) section
is continued by square 16 in the III (gray) section, and so on. —
If a name occurs also, or exclusively, in the special plan' of Central
Rome, the letter C is placed immediately after it in the index below.

Names of streets beginning with San, Santo, or Santa must not
be sought for under these prefixes, but under the proper name
following.

In calculating distances on the Map it will be found useful to remember
that each side of a square is almost exactly one-third of a mile long (500
metres, 546 yds.), while the diagonals if drawn would be 820 yds., or 60 yds.
less than half-a-mile.

I II III I II III

Abruzzi, Via . . .

Albani, Via . . . .

Accademia diFrancia

17,20

-, Villa

25,28

— SS. Maria e Luca

Alberico, Via . . .

9,12

Accoramboni,Palazzo

Aldo Manuzio, Via.

15,17

Acqua Felice, Fonta-

Aldobrandini, Villa

none dell' . . . .

Aleardo Aleardi, Via

— Giulia, Castello

Alessandria, Via . .

Alessandrina, Via .

— Mariana, Vicolo

Alessandro Farnese,

delF

32,33

Via . .

— Paola

— Volta, Via . . .

15,18

— Sparta, Via d' C

S. Alessio

Acquedotto Antoni-

Alfieri, Via . .

niano

S. Alfonso .

— Neroniano delT

Alibert, Via ....

Acqua Claudia . .

— , Vicolo

Altemps, Palazzo C

Addolorata, V . . .

Altieri, Palazzo . C

Adriana, Via. . . .

, Villa . . .

Altoviti, Lungo Te-

S. Agatade' Goti, Via

— in Suburra . . .

S. Agnese .... 6'

Amatriciani, Vicolo

— , Via di . . . . C

Agonale, Via. . . C

S. Ambrogio . . . C

Agonizzanti . . . C

AgostinoBertani.Via

American Church(S t.

S. Agostino . . . C

15
15

Paul)

— Piazza . . . . C

Amerigo Vespucci,

24 1

Via

Albani, TaJazzo . .

S. Anastasia ....

LIST OF STREETS.

III

Ancona, Via ....

Arenula, Via. . . C

13,14

Ariosto, Via . . . .

S. Andrea (near S.

Armata, Via deir C

Gregorio) ....

Armi, Piazza d' . .

7,10
21

— delle Fratte . . .

Artisti, Via d' . . .

— del Quirinale . .

Ascanio, Via di . C

— della Valle . . C

Ascarelli, Palazzo G

Anfiteatro Castrense

Asinaria, Porta . .

— Flavio (Colosseo)

Astalli, Via degli. C

Angelica, Porta . .

S. Atanasio de1 Greci

S. Angelo, Castello 6

S. Aurea, Via . . C

— , Piazza . . . C

Aurelia, Porta . . .

— , Ponte . . . . C

— , Via

— in Pescheria . G

— Antica, Via . . .

4,7

Aureliana, Via . . .

Anima, Via dell'. C

Aurora, Via deir. .

Anime Sante, Via

Ausoni, Via dei . .

delle

36-

Aventina, Via . . .
Aventino, Monte . .

;

S. Anna, Via ... 0

17,19

— de' Calzettari . .

— , Viale

18,20

Annia, Via

Avignonesi,Via degli

SS. Annnnziata . .

Avila, Via . . . . G

Antiquarium ....

Azeglio, Via ....

Antonelli, Palazzo .

S. Antonino . . . C

Babuino, Via del .

S. Antonio Abbate .

Baccina, Via. . . .

20,23

— delle Fornaci, Via

S. Balbina

— di Padova . . .

— , Via di

S. Apollinare G

•

Balbo, Via . .

■—, Piazza . . G

•

Balestrari, Via. . C

— , Via C*

•

Banca d'ltalia . . .

SS. Apostoli . . G

•

Banchi If uovi , Via

— , Piazza . . . C

-, Vicolo . C

— Vecchi, Via de' C

Appia, Via

26,27

Banco di S. Spirito,

, Nuova . . .

31,35

Via del G

Aquila, Vicolo dell' C

S. Barbara . . . . C

Aracceli, S. Maria in

Barberini, Palazzo .

— , Piazza d' . . C

21,24

— , Via d' . . . . C

Arancio, Via dell1 C

— , Villa

Arcaccio, Vicolo

Barbieri, Via dei C

Barchetta,ViadellaC

Archetto,Via deir C

Barletta, Via ....

Arcione, Via in . .

S. Bartolomeo . . .

Avco dei Banchi,

— della Ciambella,

Basilica di Costan-

19,22

— di Costantino . .

Basilicata, Via . . .

— di Dolabella . .

Basilio, Via S. . . .

— di Druso ....

Battistero in Late-

— di Gallieno . . .

rano

— di Giano (Janus

Baullari, Via de1 . G

Quadrifrons) . . .

Belisario, Via .

— de' Ginnasi, Via C'| •

Belsiana, Via. . . .

— del Monte, Via Ci .

Benedetta, Via . . .

-- degli Orerici . . |

Benedetto Cairoli,

— della Pace, Via C, .

Piazza C

— di Parma, Via 6'l

Beniamino Franklin,

- di Tito

Via

14,15

LIST OF STREETS.

II in

II II

Bergamaschi, Via C

Cadorna, Via. . .

Bergamo, Via . . .

Caetani, Palazzo . (

7 35

S. Bernardo alle

— , Villa

Terme

Caffarelli, Palazzo

Cagliari, Via. . .

S. Biagio 0

Caio Mario, Via .

S. Bibiana

Cairoli, Via . . .

29,32

BibliotecaAngeliea C

Calabria, Via. . .

— Casanatense. . C

Calamatta. Via . .

— Vittorio Eman-

Calderari, Vicolo de'C

S. Calisto . . .

Biscione, Piazza . C

Camera dei Deputat

Bixio, Via

Campana,Via della (

'1 15

Bocca di Leone, Via

Campanella, Via

della (

Bocca della Verita,

Campani, Via . .

Campania, Via . .
Campidoglio . . . (

23^25

, Via. . . .

17,20

Bocconi, Palazzo . 0

Campitelli,Piazza dU

Bodoni, Via ....

14,15

CampoCarleo, Via de

1 .

Boezio, Via ....

— di Fiore. . . . (

Bollette, Via delle C

— di Maccao , se

Bollo, Via . . . . C

Campo Militare.

Bologna, Vicolo . .

— Marzio, LungoTe

Bolognetti, Palazzo C

vere (

Bonaparte, Palazzo C

17,18

, Via di' . . (

7 18

— , Via

— Militare ....

29,32

— , Villa

— Santo dei Tedesch

S. Bonaventura

— , Via

Cancellata, Vicol

Boncompagni, Via .

23,26

Cancelleria, Palazzc

)

Borghese, Palazzo .

15,18

della

— , Piazza

— , Piazza della .

— , Villa

16,lf>

— , Via della . . (

-i

Borgo Angelico. . .

Cancellieri, Via .

— S. Angelo ....

Cancello,Vicolo del (

7 15

— • Nuovo ...

Candia, Via . . .

— Pio

Canestrari, Via de1 (

— S. Spirito . .

— , Vicolo de' . .

— VeccMo . . .

Canneti, Vicolo de

i 36

Oapena, Porta . .

Borgognona, Via . .

Capo d' Africa, Via

Borromeo, Palazzo C

— di Ferro. Piazza (

18
23

, Via'. . . . (

— le Case, Via .

Boschetto, Via del .

Bosco Parrasio . . .

Ciipocci, Via dei .

\ .

Botteghe Osccire, Vi-

Cappellari, Via de'

colo delle . . . C

Cappellini, Via. .

Bovari, Vicolo dei C

Cappuccini , Con

Branca,Via Giovanni

Braschi, Palazzo . C

— , Piazza de' . .

. 21,24

Brescia, Via . . . .

Capranica, Palazzo

Bresciani, Via de1 C

— , Piazza ....

S. Brigida . . . . G

Caprettari, Piazza

British Embassy . .

Caravita, Via del

Brnnetti, Via . . .

Carbonari, Vicolo de

Bufalo, Palazzo del C

Carceri, Via delle

— , Vicolo del . . .

Cardello, Via del

Buonarroti, Via . .

25.29

Carita, Via della

Burro, Via del . . C

•

6. Carlo al Corso

LIST OF STREETS.

III

8. Carlo ai Catenari G

Chiavari, Via . . .

— alle Quattro Fon-

Chiesa Nuova . . C

— — , Piazza della C

Carlo Alberto. Via .

, Via della . C

Carlo Botta, Via . .

25,28

Chigi, Palazzo . . .

Carrette, Piazza delle

Chiodaroli , Vicolo

— , Via delle ....

de" C

Carrozze, Via delle .

Cicciaporci,Palazzo C

Carfari, Via de' . G

Cicerone, Via . . .

Casa di Crescenzio

Cimarra, Via. . . .

(di Rienzi) ....

Cimatori, Via de' C

— di Goethe . . .

Cimitero (Campo

— di Raffaele G

Verano)

Caserme . .

7,' 10

— de' Protestanti .

Casilina, Via . . .

Cinque, Vicolo del .

Cassa di Risparmio.

— Lune, Via delle C

Cassiodoro, Via . .

Cinquecento, Piazza

Castelfidardo, Via .

26,30

Circo Agonale , see

Castello, Lungo Te-

Piazza Navona.

Cirens Maximus . .

9,12

Cisterna,Vicolo della

Castro Pretorio,Viale

Claudia, Via ....

22,25

del C

29,30

S. Claudio

S. Caterina de' Fu-

— , Via

Clemente, Via . . .

14,15

— in Via Giulia . G

S. Clemente . .

— della Ruota . . G

Clementina, Via . .

— di Siena ....

Clementino, Via de)

Catinari,Vicolo dei C

Cloaca Maxima . .

Catone, Via ....

Codini, Vigna . . .

Catullo, Via ....

Cola diEienzo, Piazza

Cavalleggieri, Porta.

— , Via

8,11

Cave, Vicolo delle .

1,2

Coliseo see Colosseo.

Cavour, Piazza . . .

Collegio Capranica,

Via del . . . C

— , Via

23,27

— Romano . . . C
, Piazza del . C

18
18

S. Cecilia in Traste-

13
13,16

, Via del . . C

Collina, Via ....

Cedro, Via del . . .

Colombo, Via Cristo-

Cefalo, Vicolo del G

foro

Celimontana, Via. .

Colonna, Palazzo . C

— , Villa

25
22,25

— , Piazza .... (7
— , Via. ...... C

18
18

Celio, Monte ....

Cellini, Via . . . C

— , Villa

Colonnelle, Via

S. Celso G

delle C

— , Vicolo di . . C

Colonette, Vicolo

Cenci, Palazzo . . .

delle

Colosseo .

Cerchi, Piazza de' .

— , Via del ....

— , Via de'

Colosso di Nerone .

Cernaia, Via della .

26,27

Condotti, Via . . .

Certosa

Conservatori. Palazzo

S. Cesareo

de' . . . . . . .' C

Cestari, Vicolo de1 .

1748

Consolato, Via del G

Ceste, Vicolo delle C

Consolazione, Via

Cestio, Piramide di

16,19

Consulta, Palazzo

S. Chiara . . . . C

— , Via

— , Via della. . . .

LIST OF STREETS.

III

Conte Verde, Via .

29,32

Emilio Morosini, Via

10,

Convertite, Via delle

English Church (All

Coppelle, Via delle C

Saints), Via del Ea-

Corallo, Vicolo del C

buino 154 . . . .

Corda, Via della. C

(Holy Trinity),

Cornacchie, Pozzo

Piazza S. 3il-

delle C

vestro C

Coronari, Via de' C

J2,15

Ennio Quirino, Via

Corsini, Palazzo . C

Equi, Via degli . .

— , Vicolo . . . . C

Ericina, Via ....

— , Villa

Esquilino, Monte . .

26,29

S. Cosimato, Via di

— , Piazza dell' . . .

SS. Cosma e Da-

S. Eufemia, Via . .

S. Eusebio ...

Costaguti, Palazzo C

S. Eustachio . . . C

— , Piazza . . . . C

Costantino, Basilica

19,22
20

Cremona, Via . . .

Fabbrica, Porta . .

Crescenzi, Vicolo. G

Fabio Massimo, Via

Crescenzio, Via . .

Fabricio, Ponte, see

Quattro Capi.

— , Via di

Falcone, Vicolo del

Cristoforo Colombo

Falconieri, Palazzo C

Via

Falegnami, Via de' C
Famagosta, Via . .

Croce, Via della . .

S. Croce, Via di . .

Farini, Via . . . .

— de' Lucchesi . .

Farinone, Vicolo del

— in Gerusalemme .

Farnese, Palazzo . C

Crocebianca, Via di

— , Piazza . . . . C

Crociferi, Via de' G

Farnesi, Via dei . C

Crocifisso, Via del .

Farnesina, Lungo Te-

Cuccagna, Via della G

— , Villa C

Curato, Via del . C

Febo, Via di . . . C
Federico Cesi, Via .

Dandolo, Viale . . .

Ferraiuoli, Palazzo C

25,

Dante, Piazza . . .

Ferruccio. Via . . .

Dataria, Via della .

Fiamme, Vicolo delle

Daverio, Via ....

Fiammetta, Piazza G

Delfini, Via -dei . G

Fiano, Palazzo . . .

Dogali, Via .....

Fico, Piazza . . . C

Dogana Vecchia, Via

— , Via del ... (7

della C

Fienili, Via dei . .

SS.Domenico e Sisto

Doria, Palazzo . . C

— , Via de\ . . C

— - Pamphili , Pa-

S. Filippo . . . . C

Finanze, Via delle .

— , Via . . . . C

Fiorentini, Lungo

S. Dorotea. . . . C

Tevere dei . . . C

— , Via

Firenze, Palazzo di C
— , Piazza . . . . C

Due Macelli, Via de"

Duilio, Via ....

— , Via

Fiume, Vicolo del .

S. Elena, Pi-zza . C

Flaminia, Porta . .

— , Via

S. Eligio C

Flavia, Via ....

— , Vicolo di. . . Ci .

Florida, Via . . . C

Emanuele Filiberto,

Floridi, Villa. . . .

Via ..... .1 .

28,31

Florio, Via ....

Emilia, Via . . .

20,23

Fogne, Vicolo delle

LIST OF STREETS.

II III

II ill

Fontana, Via della .

— Secca, Vicolo
della C

Fontanella, Vicolo
della

— di Borghese, Via
della

Foraggi, Via dei
Foro di Augusto

— Romano. . .

— Trajano . . .

, Via del .

Foscolo, Via . .
Fossa, Vicolo della C
S. Francesca . .

— Romana. . .
S. Francesco, Via

— di Paola . .

— a Ripa . . .
, Via di .

— di Sales, Via di
. Vicolo di

— delle Stimmate
Fratte, Via delle
Frattina, Via. .
Frezza, Via della
Friuli, Via. . .
Frusta, Vicolo della
Funari, Via dei . G

Gabrielli, Palazzo C
Gaeta, Via ....
Gaetana, Via. . . C
Galilei, Via . . .
Galitzin, Palazzo .
Gall. d'Arte Moderna
S. Gallicano, Via di
Gallo, Via del . . C
Galvani, Via . . .
Gambero, Vicolo del
Garibaldi, Via .

— , Ponte

— , Monumento. . .
Gatta, Via della . G
Gelsomino, Via del.

25,28
15
17
18

27,30

Genova, Via . . .
Genovesi, Via de'
Germanico, Via .

Gesii, il

— , Piazza del . .
— , Via del. . . .

— e Maria . . .

, Via del . .

S. Giacomo . . .
— , Via

— in Augusta (degli
Incurabili) . . .

— de' Spagnuoli . C
Giacomo Medici, Via
Gianicolo, Monte .
— , Via del. . . .

5,8

8,11

10
13
10
17,18
2,3
24

17,18

7,10
9

13
13

15,18
10

13,16

Giardini, Via dei
Giardino, Via del G
Giglio, Vicolo del G
Ginnasi, Vicolo de
Ginori, Via . . .
S. Gioacchino . .
Gioacchino Belli,Via
Gioberti, Via. .
Giordano Bruno . C
S. Giorgio in Velabro
Giovanni Branca, Via

— Lanza, Via .
S. Giovanni in Aino C

— Decollato, Via di

— de' Fiorentini . C

— — , Piazza. .

— in Laterano .

— — . Piazza di

J Via di. .

— , Porta

, Piazza di . .

— in Oleo, Cappella

— e Paolo

, Via di . . .

— e Petronio. . . C

— a Porta Latina .
Giraud-Torlonia, Pa

lazzo

S. Girolamo . . . C
Giubbonari,Via de1 C
Giuditta Tavani, Via
Giulia, Via . . . C
S. Giuliano . . . C
Giulio Cesare, Via

— Romano, Via . G
S. Giuseppe . . .

— de' Falegnami
(Career Mamer-
tinus)

Giusti, Via. . . .
Giustiniani, Pal. . C
— , Vicolo . . . . C
Giustizia, Palazzo di
Glorioso, Viale
Goffredo Mameli,Via
Goito, Via ....
Goletta (La), Via .
Gonfalone, Via del
Governo Vecchio,
Palazzo del. . .
— , Via del. . .
Gracchi, Via dei .
Granari, Vicolo dei C
Grazie, Via delle
Grazioli, Palazzo . C
— , Piazza . . . . C
Greca, Via della .
Greci, Via de' . .
Gregoriana, Via .
S. Gregorio Via di

— MagnofalM. Celio)

11
11,14

5,8,10
21

27
14
19

26
11
IB
12
12

12,15

26,30
5

8,11

11
14

11^12
12

12,15
15

15
19

17
18

14,15

28
28
28
31
31
30
22
28

22
22

LIST OF STREETS.

III

Grillo, Via del . . .

Leopardi, Via . . .

Grotta Pinta, Vicolo

Lentari, Via dei . C

di C

Leuto, Via . . . . C

Grotte, Via delle . C

Liberia, Piazza della

Grottino, Via del .

Liguria, Via . . . .

20,23

Guardiola.Via della C

Linotte, Palazzo (Pal.

Guglia, Via della . C

Guglielmo Pepe,

Lombardja, Via . .

20,23

29,32

Lorenesi, Vicolo dei C

Guicciardini, . Via. .

Lorenzo Ghiberti,

Gustavo Bianchi,Via

Via

32^33

S. Lorenzo Porta . .

Hiiffer, Palazzo . .

— , Via di Porta . .
— in Miranda . . .

30,33
19

Ibernesi, Via degli .

— in Panisperna . .

S. Ignazio . . . . C

— in Piscibus . . .

— , Piazza di . . . C

SS. Lorenzo e Da-

— , Via G

Impresa, Via dell' C

Lucchesi, Via de' .

Incurabili, Vicolo

Luce, Via della

S. Lucia .... C

12,17

Indipendenza,Piaz za

— , Via di

dell'

Luciano. Manara, Via

S. Isidoro

Lucina, Piazza in .

— , Via

— , Via in

Isonzo, Via ....

Lucrezio Caro, Via .

Istituto Archeologico

Lucullo, Via ....

Ludovico Caland-

— di Belle Arti . .

relli, Viale . . .

7,10

— Muratori, Via . .

Ludovisi, Via . . .

Italia, Corso d\ . j

22,26
20

S. Luigi, Piazza . C
— de' Francesi . . C

15
15

S. Ivo C

, Via . . . . C

Luigi Mosi, Via . .

Labicana, Via . . .

25,28
31

— Santini, Via. . .
Lungara, Via della C

9,11

Lamarmora, Via . .

Lancellotti, Palazzo C

12,15

Lungaretta,Via della

— , Piazza . . . . C

12,15

Lungarina, Via della

13,16

Lancisi, Via ....

Lante, Palazzo . . C

Macao, see Campo

— , Villa

9
8

Militare.
MaceldeiCorvi,Via C

— — (Gianicolo) . .

Larga, Via . . . . C

Macello, Via del . .

Lata, Via ..... C

Machiavelli, Via . .

28,29

Laterano, S. Gio-

Madama Lucrezia,

Vicolo di . . . C

Latina, Porta. . . .

— , Palazzo . . . C

— , Via

— , Piazza . . . . C

Latini, Via dei. . .

Maddalena, Via

Laurina, Via. . . .

della C

Lavatore, Via del

Magenta, Via ....

Maggiore, Porta . .

Leduca, Bastione .

— — , Via di . . .

31,32

Leonardo da Vinci,

Uagnanapoli, Piazza

Via

Malabarba, Vicolo di

Leone, Via del . . .

Malatesta, Pajazzo C

— Quarto, Via. . .

Malpasso, Via del C

Leonetto, Via del C

Mamiani, Via . . .

Leonina, Via. .

Mancino, Vicolo delC

LIST OF STREETS.

[

III

Manfredo Fanti, Pi-

S. Maria dell' Orto,

azza

30
27

Via

— della Pace . . C

Mantellate, Vicolo

— del Pianto . . C

delle

8,11
28,31

■— della Pieta . . C
— della Pieta (Cam-

Manzoni, Via . . .

Marcantonio Colon-

po Santo de' Ted-

na, Via

S. Marcello. . . C

— del Popolo . . .

13,16

— , Via di . . . . C

— in Publicolia . C

Marche, Via ....

— della Querela . C

Marchegiani, Vicolo

— della Scala

, Via di . .

S. Marco C

— del Sole . ...

— , Piazza di. . . C

— del Snffragio . C

— , Via di .... C

— in Trastevere . .

Marco Aurelio, Via

— — , Piazza di . .

Marescotti, Palazzo C

— in Trivio . . . C

Marforio, Via di . C

— in Via . . . . C

Margana, Piazza . C

, Via .... C

— , Via G

— in Via Lata . . 0

Slarghera, Via . . .

— della Vittoria

Margb.er.ita, Palazzo

Marianna Dionigi,

— , Passeggiata . . .

7',8

Via

14,15

Marignoli, Palazzo C

Margutta, Via . . .

Mario de' Fiori, Via

S. Maria degli An-

geli

Marmorata, Via . .

17,18

— dell' Anima . . C

Marmorelle, Via

— in Aquiro . . . G

delle

— in Aracoeli . . G

Marrana di S. Gio-

— Aventina - . . .

vanni (brook) . .

— in Campitelli . C

Marroniti, Via de1 .

— in Campo Mar-

Marsi, Via dei . . .

xio C

15,18

S. Marta C

, Via .... C

— , Piazza di . . . .

— della Concezione

S. Martino, Via . .

— della Consolazi-

— a' Monti . . . .

19
16

— , Via di. . . .

Maschera d'Oro, Via

— in Cosmedin . .

- in Domnica .

-— Egiziaca ....

Mascberone, Via

— do' Fiori . . . .

del C

— della Grotta . . .

Mas^herino, Vicolo

-- di Loreto ... 6

del

— Maddalena . . C

Massimi, Palazzo . 6

15,17

— Maggiore . . . .

Massimo, Villa. . .

— — , Piazza. .

Mastai, Piazza . . .

, Via

Mastro, Vicolo del C

— sopra Minerva C

•

Mastro Giorgio, Via

14,13

, Piazza di . G

— de' Miracoli . . .

14!,1T

Mattei, Palazzo. . C

— di Monserrato . G

— , Piazza . . . . G

in Monterone . G

_, Via

— in Monte Santo .

Mattonato, Via del .

Mausoleo di Adriano

, Via di . . .

— di Augnsto . . .

14,17

— in Monticelli . C

Mazzamurelli, Vicolo

, Via . . . . 0

— della Morte . . C

Mazzarino, Via . . .

— dell' Orto . . . .

LIST OF STREETS.

II III

II II

Mecenate, Via . . .
Medici, Villa. . . .
Melangolo,Vieolo del
Melone, Vicolo del 0
Mentana, Via . .
Mercede, Via della
Mercuri, Via . . .
Merulana, Via . .
Messina, Via . . .
Meta Sudante . .
Metastasio, Via. .
Metronia, Porta .
S. Michele, Via di
SS. Michele e Magno
Mignanelli, Piazza
Milano, Via . . .
Milazzo, Via . . .

Milizie, Viale delle

Mille, Via dei . .
Mills, Villa . . .
Minerva Medica,
Tempio di . . .
— , Via della. . .
Minghetti, Via . . 0
Mimstero Finanze

— Grazia eGiastizia

— Guerra ....

— Istruzione Pub
blica C

— Marina . . . . 0
Miranda, Via in . .
Missione, Via della C
Modena, Via ....
Mole de' Fiorentini,

Via delle. . . . C
Monserrato,Via di C
Montanara, Piazza .

— Via C

Montebello, Via . .
Montecatini, Via . 0
Monte Brianzo, Via

di 0

— Caprino (now
Monte Tarpeo) . .

— Citorio, Piazza
di C

— della Farina, Via
del C

— Giordano, Via C
■■■- d'Oro, Piazza di

— di Pieta . . . . 0

, Piazza . . . C

Monterone, Via. . C
Monte Savello,Via di

— Tarpeo, Via di .

— Vecchio, Piazza G
— , Via di . . . . C"
Monticello, Via del C
Montoro, Vicolo di C
Moretto, Via del C

18,21
15

M,
10
31

25,29

28,29
22

26,27
15

27,29

26,29
9,13

12
11,12

16
16,17

14
12

i i6
19

11,12

Moro, Via de.1 . . .
Moroni, Vico.lo
Muratte, Via delle C
Museo Agrario . . .

— Artistico- Indu-
strial

— Barracco . . . C

— Capitolino. . C

— dei Gessi ....

— Kircheriano . . C

— Lateranense . . .

— Torlooia . . . C
Mu,ti, Palazzo . . 0

— Paparruzzi , Pa
lazzo C

Muzio Clementi, Via

NapoleoneTerzo,Via
Napoli, Via . . . C
Nari, Vicolo de' C
Navicella, Piazza

della

— , Via della . . .
Navona, Piazza(Circo

Agonale) .... C
Nazareno, Via del .
Nazionale, Via. . 0
SS. Nereo ed Achilleo
Nerva, Via . . .
Kicola Fabrizi, Via
S. Nicola C

— in Carcere .

— dei Cesarini . . C
, Via . . . . C

— da Tolentinu

, Vicolo di .

Nicosia, Piazza. .
Nocetta, Vicolo della
Nome di Maria
Nomentana, Porta
— , Via .....

Odesealchi, Palazzo C
Olmata, Via dell'
Olmo, Via dell'
S. Omobono . . .
S. Onofrio ...
— , Vicolo di . .
Orazio, Via . . .
Orbitelli, Vicolo .
Orfani, Via degli
Orfeo, Vicolo d' .
Orologio, Piazza

dell'

Orsini, Palazzo
Orso, Via dell' . .
S. Orsola ....
Orti d'Alibert,Vicolo
Orto Botanico . . .
Ospedale Ecclesias-

tico

24
21

11,15

13
10

29,30
24
15

24
24
15

21,24

15
16
17
17

18,21
26
17
16
9
9

12
18

12
16

17
S
22

23,
1(

LIST OF STREETS.

II III

Ospedale S.Gallicano

— S. Giov. Laterano

— S. Michele . . .

— Militare

— de' Pazzi . .

— Tiberino . .
Ospizio Croniei . .

— S. Margherita . .
Oscoli, Palazzo . . C
Oste, Via dell' . . C
Osteria, Vicolo dell'
Ostia, Via .....
Ostilia, Via ....
Otranto, Via ....
Ottaviano Sforza,Via
Ovidio, Via . . .

Pace, Piazza della
— , Via della . . . C
Padella, Piazza . . C

— , Via C

Paganica, Via . . C
Paglia, Vicolo dell
Palatino, Monte .
— , Ponte ....
Palermo, Via. . .
Palestro, Via. . .
Pallacorda, Via di C
Palle, Vicolo delle C
Palma, Vicolo della C
Palombella, Via

della . . . . . . C

Pamphili, Palazzo (■

— , Villa

S. Pancrazio .

— , Porta

Panetteria, Via della
Panico, Via di . . C
Panieri, Vicolo dei .
Panisperna, Via . .
S. Pantaleo . . . C
— , Piazza . . . . C
— , Via di . . . . C
Pantheon . .
— , Via del .
Paola, Via . .
Paolina, Via .
S. Paolino . .
— alia Regola

Paolo Emilio, Via
S. Paolo, Porta. .
— , Via di . . . .
Paradiso, Piazza

del

— , Via del ...
Parioli, Monti .
Parione, Via di
Pasqnino, Piazza

del C

— , Via del ... C

. . C
. C

'. b

Via
. C

. c

28
13
25

21
23

14
15
33

15
15
11
11
17
10

19,2219.22
16
24

15,18
15

12
10
23,27
15
15
15
18
18
12
26
14

1,4

Paste, Vicolo delle C
Pastini, Via de' . C
Pastrengo, Via . . .
Patrizi, Villa . . .
Pavone, Via del . C
Pellegrini, Piazza

dei C

S. Pellegrino ....
Pellegrino, Via del C
Pelliccia, Via della.
Penna, Via della . .
Petrarea, Via . . .
Pettinari, Via de' C
Pia, Piazza. . .
— , Porta . . .
Pianellari, Via . . C
Pianto, Piazza del C
— , Via del . . . C
Pie di Marmo, Via

del C

Piemonte, Via . .
Pierluigi daPalestri

na, Via ....
Pieroni, Villa . .
Pietra, Piazza di . C
— , Via di . . . .
Pietramellara, Via
Pietrelle, Vicolo

delle

Pietro Cossa, Via

— Roaselli, Via .
S. Pietro inMontorio

— in Vaticano . .
, Piazza di .

— in Vincoli . .

, Piazza di .

, Via di . .

SS. Pietro e Marcel

lino C

— e Paolo . . . . C
Pigna, Piazza della C
— , Via della . . . C
Pilotta, Piazza della (J
— , Via della . .
Pinacolo, Vicolo

del C

Pinciana, Porta
— , Via di . . .
Pincio, Monte .
Pio, Palazzo . . . C
Piombino, Palazzo
Piombo, Vicolo del C
Piscinula, Via in .
Plebiscito, Piazza del

= Piazza Pia . .
— , Via del. . . . C
Plinio, Via . .
Po, Viale . . .
Polacchi, Via dei C
Poli, Palazzo . . . C
— , Piazza . . . . C

12,14

10,13

14,17

15,14

6,9

20,23
20,21
20,23

18,21
16

7
34
7

LIST OF STREETS.

II III

Poli, Via . . . . C

Policlinico

— , Viale del ... .

29,32

Politeama,Vicolo del

Pollarola, Piazza C

Polveriera, Via della

Polverone,Via del C

Pompeo Magno, Via

Ponte Sisto . . . C

, Vicolo di . .

Ponteflci, Via de' .

Popolo, Piazza del .

13,16

— , Porta del ....

Porta Leone, Via di

— Settimiana . . G

Portese, Porta . . .

Portico d' Ottavia G

, Via del . . C

17,16

Porto diRipa Grande

13,16

Portoghesi, Via de' 0

11,14

— , Via

11,14

Posta 0

— Vecchia, Via

della C

Pozzetto, Via del. C

Pozzi, Via de' . . .

Praenestina, Porta .

Prati di Castello, Vi-

Prefetti, Via dei . G

Principe Amedeo,

Via

27,30

— Eugenio, Via . .

— di Napoli, Piazza

— TJmberto, Via . .

30,32

Principessa Marghe-

30,32

Priorato, Via del

— di Malta ...

S. Prisca

— , Via di

19,20

Propaganda, Via di.

— Fide

Properzio, Via . . .

S. Pudenziana . . .

24,27

Puglie, Via ...

Purificazione, Via

SS. ftuattro, Via de'

Quattro Cantoni,Via

— Capi, Ponte dei .

— Coronati ....

— Fontane

, Via

Querceti, Via dei .

Qnintilio Sella, Via

S. Quintino, Via . .

•^uirinale, Monte

Quirinale, Palazzo e

Giardino del . . .

— , Piazza del . . .

— , Via del

21,24

Qniriti, Piazza dei .

Rasella, Via ....

Rattazzi, Via . . .

Re, Viale del . . .

Reggio, Via ....

Regina, Piazza della

— , Viale della . . .

28,31

Regis, Pal. (Linotte) G

Regola, Via della .

13,14

Renella, Via della .

Riari, Vicolo de' . C

Ricci, Piazza . . . G

— Parracciani, Pa-

lazzo. . . . . . C

Ricovero, Via del .

Ripetta, Passeggiata

— , Ponte di . . . .

Risorgimento, Piazza

del

5,8

Risparmio, Cassa

S. Rita C

Robbia, Via della .

17,18

S. Rocco

Roma Libera, Via .

Romana, Piazza . .

Romolo Gessi, Via .

Rondanini, Palazzo.

14,17

— , Piazza . . . . C

Rondinella, Via

Rosa, Via della . .

Rospigliosi, Palazzo

Rotonda, Piazza

della C

— , Via della . . . C

Rotto, Ponte . . . .

Rubattino, Via . .

Rnspoli, Palazzo . .

S. Saba

— , Via di

Sabelli, Via dei . .

35^36

S. Sabina

— , Via di

16,19

Sabini, Palazzo. . C

— , Via dei . . . . G

Sacchetti, Palazzo G

Sacro Cuore, Chiesa

del

Sagrestia, Piazza

della

— , Via della ....

III

Salaria, Porta . . .

25,26

Sette, Via delle . .

, Via di . . .

25,26

Settimiana, Porta .

Sallustiana, Via . .

23,26

Sferisterio Romano.

Salumi, Vicolo de' .

— Spagnuolo. . . .

11,14

S. Salvatore . . . C

Sforza, Piazza . . G

— in Campo ... (7

— , Via ......

— in Lauro . . C

Sforza-Cesarini, Pa-

— — , Piazza. . . C

, Via .... C

—.Via C

— -Pallavicini , Via

>Salviati, Palazzo . G

Sicilia, Via . . . .

23,26

18,21

Silla, Via

S. Silvestro . . .

Sangallo, Lungo Te-

vere del . . . . C

— in Capite . .

Santacroce, Palazzo C

— — , Piazza di . .

Santamanra, Via . .

Santo, Vicolo del .

Sinimachi, Via de1 .

Sapienza,Via della C

8. Simone . . . . C

Sardegna, Via . . .

Simonetti, Palazzo C

Sardi, Via dei . . .

Sinibaldi, Via . . C

Satiri, Piazza de' . 0

Sistina, Via . . . .

Savelli, Vicolo . . C

Sisto, Ponte ....

Savorelli, Villa . .

S. Sisto Vecchio, Via

Scaccia, Via ....

23,26

Scala Santa ....

23,31

Soldati, Via de' . C

Scala, Via della . .

Solferino, Via . . .

— , Vicolo della. . .

Sommacampagna,

Scalcaccia, Vicolo

Via

29,30

Sora, Palazzo . G
— , Piazza di . . . C

12
12

Schiavoni, Via degli

15,18

Sciarra, Vicolo . . 0

—, Via di . . . . C

Sciarra-Colonna, Pa-

Spada, Palazzo . . 0

lazzo C

Spagna, Palazzo di .

18-,2i

Scipioni, Via degli .

5,8,10

— , Piazza di . . .

17,18

Scorpione, Vicolo

Spagnoli, Vicolo

dello

32,36

degli C

Specchi, Via,degli C

Scossa Cavalli, Pi-

azza

S. Spirito .'...€'

Scrofa, Via della . C

— , Banco di . . C

Scuole, Piazza delle C

— , Oratorio di . . .

S. Sebastianello, Via

Sebastiano Veniero,

Via

Staderari, Via degli C

S. Sebastiano de'

Stamperia, Via

Mercanti

della r

S. Sebastiano, Porta

S. Stanislao . . O

, Via di . . .

23,27

Statilia, Via . .

Sebeto, Via ....

Statuto, Via dello .

26.39

Sediari, Via dei . C

Stazione S. Pietro .

Selci, Via in ... .

— di Termini . . .

Semenzaio Comunale

— di Trastevere . .

Seminario, Via del 0

Stefano Porcari, Via

S. Stefano . . . . C

Senatore, Palazzo

— , Via . . . . C

del ('.

20
20

— del Cacco, Via C

— Rotondo ....

Sepolcro di Bibulo (J

— de' Scipioni . .

, Via di . . .

25,28-

Serlupi, Palazzo . C

Stelletta, Via della C

Serpenti, Via dei .

Strengari,Via degli C

13,14

Serviti, Via dei . .

Strohl-Fern, Villa .

Sette Sale . .

Strozzi, Palazzo . C

LIST OF STREETS.

ii in

Struzzo, Via dello C

SS. Sudario, Cap-

pella del . . . . G

— , Via del

Sugarelli, Vicolo . C

S. Susanna

Tacito, Via ....

Tartaruga, Piazza,

now Mattei.

Tavolacci, Via . . .

Teatro Argentina C

— Capranica ....

24,27

— di Marcello . . .

— Metastasio . . 0

, Via del . . C

— della Pace . . .

, Via del . . C

— di Pompeo . . C

— Quirino . . . . C

— Rossini . . . . C

— della Valle . . C

, Via del . . C

Tebaldi, Lungo Te-

vere dei . . . . C

Telline, Via ... C

— , Via di

Terenzio, Via . . .

Terme di Agrippa C

— di Caracalla . .

23,24

— di Diocleziano .

— di Traiano . . .

— , Piazza delle,

formerly di Ter-

Termini, Fontana,

see Acqua Felice

— , Piazza, see P.

delle Terme . . .

Testaccio, Monte . .

Tiberio, Tiburri, Via

Tibullo, Via . . . .

Tiburtina, Porta . .

Tiradiavoli, Via . .

Tittoni, Via . . . .

Tolemaide, Via . .

''omacelli, Via . . .

;!, Tommaso di

Canterbury. . . C

- in Formis. . . .

— in Parione . . C

Tor Argentina, Via

14,15

— de' Conti . . . .

Tor de' Conti, Via di

— Millina, Via di G

— Sanguigna, Via e

Piazza di . . . G

— de' Specchi, Via

di G

Torlonia, Villa . j
Torre Argentina, Via

29,31
34

14,15
20

— delle Milizie . .

— di Nona, Lungo

Tevere di . . . C

12,15

— di Nona, Via di C

12,15

Toscana, Via . . .

Travicella, Via della

Tre Archi, Via dei C

— Pile, Via delle G

— Pupazzi, Via dei

Trevi, Fontana di C

— , Piazza . . . . C

Triboniano, Via . .

Tribuna, Via della C

— Tor de' Specchi,

Via C

Tribunali, Piazza dei

12',15

Triclinio Leoniano .

SS. Trinita della Mi s-

— de' Monti ....

, Piazza. . . .

— de' Pellegrini . C

Trionfale, Via . . .

Tritone, Via del . .

Trofei di Mario, see

Acqua Giulia.

Tronto, Via . . . .

Tunisi, Via . . . .

Tusculana, Via . .

•

Uffici del Vicario,

Via C

S. Uffizio, Pal. del .

6,9

Ulpiano, Via . . .

Umberto Primo,

17,18

— , Ponte . . . . C

Umberto Bianca-

mano, Via . . . .

Umilta, Via dell'. C

18,21

TJnita, Piazza dell' .

Universita, Via

dell' C

— della Sapienza. C

Vaccarella , Vicolo

Vaccaro,Vicolo del C

15
21

Baedeker. Central Italy. 14th Edition.

Vacche, Vicolo

delle C\

Valadier, Via . . .1
Valdina. Vicolo . d
Valle, Piazza delle C,

— deir Inferno . 0,
Vallati, Lungo Te-I

vere dei . . . . C
Vantaggio, Via del .
Vanvitelli, Via. . .
Varese, Via ....
Vascellari, Vicolo de'
Vaticano, Lungo Te-

vere G

— , Monte

— , Palazzo

Vecchiaretti, Vicolo

de' C-,

Velabro, Via del . .1
S. Venanzio . . . G,
— , Via di .... C
Venere e Roma ,

Tempio di . . .
Veneto, Via . . .
Venezia, Palazzo . G,
— , Piazza di . . C<

— , Via |

Venti, Vicolo dei C,

— Settembre, Via
Verano, Via del .
Vergini, Via delle
Vespasiano, Via .
Vetrina, Via della
Viconza, Via . .

a;3

14,17
30

12
3,6

.26,27

II III

12,15

12
19
17
17

17
17
24
14

36
18,21

12,15

14,17

Vidoni, Palazzo . 0
Villafranca, Via . .
Villa, Vicolo della .

— Patrizi, Via di .
Viminale, Monte . .

— , Via de)

SS. Vincenzo ed

4nastasio ....
Virginio Orsini, Via
Visconti, Via . . ,

S. Vitale

— , Via di

Vite, Via della. . .

S. Vito

— , Via

Vittoria, Via. . . .

— Colonna, Via . .
Vittorio Emanuele,

Corso Gi

, Momimento C

— — , Piazza . . .
Volpe, Vicolo della C
Volsci, Via dei .
Volturno, Via . .

Wolkonsky, Villa

Zabaglia, Via . .
Zecca Papale . .
— , Via della . . .
Zingari, Via degli
Zoccolette, Via
delle

II I"

29,32

10,11
11,14

24,27
27

12,14
17
20
29
15
36

Leipsic: Printed by Breitlcopf & Hartel.

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Leipsic: Karl Baedeker.
1904.

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